1979 Directed by David Cronenberg
A man tries to uncover an unconventional psychologist's therapy techniques on his institutionalized wife, while a series of brutal attacks committed by a brood of mutant children coincides with the husband's investigation.
Canadian Film Development Corporation (CFDC) Elgin International Films Victor Solnicki Productions New World Pictures
Pomiot, The brood - missfostret
Horror, the undead and monster classics Intense violence and sexual transgression scary, horror, creepy, supernatural or frighten horror, gory, scary, killing or gruesome horror, creepy, eerie, blood or gothic horror, scientist, monster, doctor or experiment horror, creepy, frighten, eerie or chilling Show All…
Another film that felt like a first time watch because 1) it's been over 30 years 2) Criterion's restoration is so good that it almost feels like a different film from the VHS I rented when I was in my teens.
I forgot how in line this film is with Cronenberg's fascination/obsession with body horror. I re-visited thinking that I would like it better after all these years but quite honestly, still low in my Cronenberg ranking.
Criterion release is great. So much on the disc including interviews, tv spots and Cronenberg's 2nd feature Crimes of the Future, which I've never seen and will so soon.
Oliver Reed's T-levels are off the charts in this one. Amazing hair, astonishing jaw, incredible winter coats.
David Cronenberg turning his own ugly feelings about his messy divorce into a disturbing dive into psychological scars of family. Art Hindle’s blank face is the perfect foil to such dissection and the film has some of the most effective horrifying images put on film particularly when they are the most simple (as a 15 year old those little deformed hands coming from under the bed really did a number on me). Even the pure little girl sight is disturbing. And then there is the moment in which the ex-husband arrives in the school to murdered body of the teacher and all those little children crying. When it comes to psychological damage, The Brood has something for everyone.
This is exactly what I was hoping it would be. I was in the mood for some Cronenberg, and I most certainly got some Cronenberg. This movie is absolutely, positively off the wall. I feel like with The Brood, the Cronenberg that we all know and love came into being. Not that there was anything wrong with his previous seventies work, but in my eyes, this was the film that paved the way for the director's subsequent masterpieces: Videodrome, The Fly, etc. You thought that those films had insane endings? Wait until you get a load of this one's finale. Holy goodness gracious on wheels, I did not see the final half hour of this film coming... from the classroom…
Naturally, personal Cronenberg is a grotesque psychological relationship nightmare seething with repulsive mental anguish body terror. Expertly crafted late 70’s downer pleasure that’s equal parts fascinating and harrowing… plus Oliver Reed is in full god mode as far as being the most terrifying and intense human on earth. I don’t revisit this often, but it might just be my favorite film in David Cronenberg’s disgusting grand cinematic guignol filmography.
Liked this more on rewatch. As a movie it's flawed, but as a contraceptive device, it's about as good as they come.
Man I'm surprised by all the high ratings. This was boring af. Nothing interesting even happened until the end. What is psychoplasmics anyway? Whatever I guess this movie is good birth control though. But I do appreciate how 70s this is. The decor, hair and outfits are all very groovy. The colored snow suits remind me of growing up in Alaska. And the teacher lady had some serious Mrs Brady hair!
if u experience so much discomfort at having to deal with other people that u suspect yr not social just desperate for attention & approval i have news for you: Police Seek Dwarf Killers
It's interesting (and disturbing) that Cronenberg wrote this while undergoing a messy custody battle. Disturbing, obviously, to see one of the finest male cinematic critics of misogyny indulging in it himself, but fascinating for how evocative it nonetheless remains of maternal instincts and legacies of trauma. It's obvious from the general dramatic arc that husband Frank is maybe the only decent person in Nola's periphery, yet it's impossible not to root for her, even as her psychic distress births demon spawn to violently avenge herself. I can actually see where Robin Wood was coming from on the film, especially in light of DC's headspace at the time. Nola's ability to asexually reproduce, and to make those offspring completely attuned to…
