- Condition: New
- Format: DVD
- Color; Director's Cut; DVD; Widescreen; NTSC
Exciting stars Jennifer Jason Leigh (DOLORES CLAIBORNE), Jude Law (GATTACA), and Willem Dafoe (SPEED 2, AFFLICTION) challenge the boundaries of reality in this futuristic, critically acclaimed adventure thriller! During the first closed-door demonstration of an amazing new virtual reality game called eXistenZ, the system's brilliant designer, Allegra Geller (Leigh), is violently attacked by a crazed assassin intent on killing her and destroying her creation! Forced to flee into hiding, Allegra enlists a young assistant (Law) to help her in testing the damaged system ... by convincing him to join her inside eXistenZ! The action then explodes as their world's real-life dangers begin to merge with the fantasy of the game! If you're ready to play, it's now your turn to plug into this powerfully entertaining hi! t!Director David Cronenberg's
eXistenZ is a stew of corporate espionage, virtual reality gaming, and thriller elements, marinated in Cronenberg's favorite Crock-Pot juices of technology, physiology, and sexual metaphor. Jennifer Jason Leigh is game designer Allegra Geller, responsible for the new state-of-the-art eXistenZ game system; along with PR newbie Ted Pikul (Jude Law), they take the beta version of the game for a test drive and are immersed in a dangerous alternate reality. The game isn't quite like PlayStation, though; it's a latexy pod made from the guts of mutant amphibians and plugs via an umbilical cord directly into the user's spinal column (through a BioPort). It powers up through the player's own nervous system and taps into the subconscious; with several players it networks their brains together. Geller and Pikul's adventures in the game reality uncover more espionage and an antigaming, proreality insurrection. The game world makes it increasingly di! fficult to discern between reality and the game, either throug! h the ga me's perspective or the human's. More accessible than
Crash,
eXistenZ is a complicated sci-fi opus, often confusing, and with an ending that leaves itself wide open for a sequel. Fans of Cronenberg's work will recognize his recurring themes and will eat this up. Others will find its shallow characterizations and near-incomprehensible plot twists a little tedious.
--Jerry RenshawExciting stars
Jennifer Jason Leigh (
The Machinist),
Jude Law (
Repo Men),
Willem Dafoe (
Daybreakers)
Ian Holm (
The Aviator) and
Sarah Polley (
Splice) challenge the boundaries of reality in this futuristic, critically-acclaimed thriller.
During the first closed-door demonstration of an amazing new virtual reality game called eXistenZ, the system's brilliant designer, Allegra Geller (Leigh), is violently attacked by a crazed assassin intent on killing her and destroying her creation. Forced into hiding, ! Allegra enlists a young assistant (Law) to help her in testing the damaged system...by convincing him to join her inside eXistenZ. The action explodes as their world's real-life dangers begin to merge with the fantasy of the game.Director David Cronenberg's
eXistenZ is a stew of corporate espionage, virtual reality gaming, and thriller elements, marinated in Cronenberg's favorite Crock-Pot juices of technology, physiology, and sexual metaphor. Jennifer Jason Leigh is game designer Allegra Geller, responsible for the new state-of-the-art eXistenZ game system; along with PR newbie Ted Pikul (Jude Law), they take the beta version of the game for a test drive and are immersed in a dangerous alternate reality. The game isn't quite like PlayStation, though; it's a latexy pod made from the guts of mutant amphibians and plugs via an umbilical cord directly into the user's spinal column (through a BioPort). It powers up through the player's own nervous system and taps into th! e subconscious; with several players it networks their brains ! together . Geller and Pikul's adventures in the game reality uncover more espionage and an antigaming, proreality insurrection. The game world makes it increasingly difficult to discern between reality and the game, either through the game's perspective or the human's. More accessible than
Crash,
eXistenZ is a complicated sci-fi opus, often confusing, and with an ending that leaves itself wide open for a sequel. Fans of Cronenberg's work will recognize his recurring themes and will eat this up. Others will find its shallow characterizations and near-incomprehensible plot twists a little tedious.
--Jerry RenshawDirector David Cronenberg's
eXistenZ is a stew of corporate espionage, virtual reality gaming, and thriller elements, marinated in Cronenberg's favorite Crock-Pot juices of technology, physiology, and sexual metaphor. Jennifer Jason Leigh is game designer Allegra Geller, responsible for the new state-of-the-art eXistenZ game system; along with PR new! bie Ted Pikul (Jude Law), they take the beta version of the game for a test drive and are immersed in a dangerous alternate reality. The game isn't quite like PlayStation, though; it's a latexy pod made from the guts of mutant amphibians and plugs via an umbilical cord directly into the user's spinal column (through a BioPort). It powers up through the player's own nervous system and taps into the subconscious; with several players it networks their brains together. Geller and Pikul's adventures in the game reality uncover more espionage and an antigaming, proreality insurrection. The game world makes it increasingly difficult to discern between reality and the game, either through the game's perspective or the human's. More accessible than
Crash,
eXistenZ is a complicated sci-fi opus, often confusing, and with an ending that leaves itself wide open for a sequel. Fans of Cronenberg's work will recognize his recurring themes and will eat this up. Others will fi! nd its shallow characterizations and near-incomprehensible plo! t twists a little tedious.
--Jerry Renshaw13TH FLOOR - DVD MovieComputer scientist Hannon Fuller (Armin Mueller-Stahl) finds something extremely important. Knowing that he's marked for assassination, he leaves a message in the virtual reality world he's designed, hoping it will be found by colleague Douglas Hall (Craig Bierko). Hall is a suspect in Fuller's murder and indeed finds a bloody shirt in his house, with no recollection of what he did the night before. Hall plunges headlong into Fuller's world (a re-creation of 1937 Los Angeles) to try to unravel the slaying and is soon knee-deep in confusion and trouble. What this film lacks in character depth and plot cohesiveness it makes up for in special effects and high concept. Fans of films like
Blade Runner,
Dark City,
eXistenZ, and even the game Sim City should find this appealing. Of course, there's the question of letting the computers do all the heavy lifting in films while the humans walk through t! he plot (an all-too-familiar scenario in 1999), but the re-creation of '30s Los Angeles is certainly something to see, pallid script and acting or not.
The Thirteenth Floor is a stylish modern-day noir that raises questions about technology versus reality, all the while wrapped up in a murder-mystery story line.
--Jerry Renshaw Director David Cronenberg's
eXistenZ is a stew of corporate espionage, virtual reality gaming, and thriller elements, marinated in Cronenberg's favorite Crock-Pot juices of technology, physiology, and sexual metaphor. Jennifer Jason Leigh is game designer Allegra Geller, responsible for the new state-of-the-art eXistenZ game system; along with PR newbie Ted Pikul (Jude Law), they take the beta version of the game for a test drive and are immersed in a dangerous alternate reality. The game isn't quite like PlayStation, though; it's a latexy pod made from the guts of mutant amphibians and plugs via an umbilical cord directly into t! he user's spinal column (through a BioPort). It powers up thro! ugh the player's own nervous system and taps into the subconscious; with several players it networks their brains together. Geller and Pikul's adventures in the game reality uncover more espionage and an antigaming, proreality insurrection. The game world makes it increasingly difficult to discern between reality and the game, either through the game's perspective or the human's. More accessible than
Crash,
eXistenZ is a complicated sci-fi opus, often confusing, and with an ending that leaves itself wide open for a sequel. Fans of Cronenberg's work will recognize his recurring themes and will eat this up. Others will find its shallow characterizations and near-incomprehensible plot twists a little tedious.
--Jerry RenshawSpider has been allowed a second chance at life after a long stay in a mental institution and sent to a halfway house under the stern watch of Mrs. Ilkenson.
Revisiting his old neighborhood reawakens memories of where his mother and his fathe! r raised him. He soon begins to uncover the real truth shifting seamlessly back and forth between the tragic events that polarized a boy's adolescence to the shell of a man enduring the surreal plausible reality of today.Internal madness is hypnotically externalized in David Cronenberg's Spider, a disturbing portrait of schizophrenia. Adapted by Patrick McGrath from his celebrated novel, this no-frills production begins when "Spider" Cleg (Ralph Fiennes, in a daring, nearly nonverbal role) returns to his childhood neighborhood in London's dreary East End, where a traumatic event from his past percolates to the surface of his still-erratic consciousness. Released from a mental institution and left to fend for himself, he pursues elusive memories while staying in a halfway house run by a stern matron (Lynn Redgrave), unable to distinguish between past, present, and psychological fabrication. The distorting influence of Spider's mind is directly reflected in Cr! onenberg's cunning visual strategy, presenting a shifting "re! ality" t hat's deliberately untrustworthy, until the veracity of nearly every scene is called into question. With an impressive dual-role performance by Miranda Richardson, Spider falls prey to its own lugubrious rhythms, but like the acclaimed 1995 indie film Clean, Shaven, it's a compelling glimpse of mental illness, seen from the inside out. --Jeff ShannonDirector David Cronenberg's eXistenZ is a stew of corporate espionage, virtual reality gaming, and thriller elements, marinated in Cronenberg's favorite Crock-Pot juices of technology, physiology, and sexual metaphor. Jennifer Jason Leigh is game designer Allegra Geller, responsible for the new state-of-the-art eXistenZ game system; along with PR newbie Ted Pikul (Jude Law), they take the beta version of the game for a test drive and are immersed in a dangerous alternate reality. The game isn't quite like PlayStation, though; it's a latexy pod made from the guts of mutant amphibians and plugs via ! an umbilical cord directly into the user's spinal column (through a BioPort). It powers up through the player's own nervous system and taps into the subconscious; with several players it networks their brains together. Geller and Pikul's adventures in the game reality uncover more espionage and an antigaming, proreality insurrection. The game world makes it increasingly difficult to discern between reality and the game, either through the game's perspective or the human's. More accessible than Crash, eXistenZ is a complicated sci-fi opus, often confusing, and with an ending that leaves itself wide open for a sequel. Fans of Cronenberg's work will recognize his recurring themes and will eat this up. Others will find its shallow characterizations and near-incomprehensible plot twists a little tedious. --Jerry RenshawVIDEODROME - DVD MovieLove it or loathe it, David Cronenberg's 1983 horror film Videodrome is a movie to be reckoned with. Inviting ex! tremes of response from disdain (critic Roger Ebert called it ! "one of the least entertaining films ever made") to academic euphoria, it's the kind of film that is simultaneously sickening and seemingly devoid of humanity, but also blessed with provocative ideas and a compelling subtext of social commentary. Giving yet another powerful and disturbing performance, James Woods stars as the operator of a low-budget cable-TV station who accidentally intercepts a mysterious cable transmission that features the apparent torture and death of women in its programming. He traces the show to its source and discovers a mysterious plot to broadcast a subliminally influential signal into the homes of millions, masterminded by a quasi-religious character named Brian O'Blivion and his overly reverent daughter. Meanwhile Woods is falling under the spell, becoming a victim of video, and losing his grip--both physically and psychologically--on the distinction between reality and television. A potent treatise on the effects of total immersion into our mass-media ! culture, Videodrome is also (to the delight of Cronenberg's loyal fans) a showcase for obsessions manifested in the tangible world of the flesh. It's a hallucinogenic world in which a television set seems to breathe with a life of its own, and where the body itself can become a VCR repository for disturbing imagery. Featuring bizarre makeup effects by Rick Baker and a daring performance by Deborah Harry (of Blondie fame) as Wood's sadomasochistic girlfriend, Videodrome is pure Cronenberg--unsettling, intelligent, and decidedly not for every taste. --Jeff ShannonThe critically-acclaimed triumph from visionary director Alex Proyas (I, Robot, The Crow) is back with a brand new directors cut featuring enhanced picture and sound, never-before-seen footage and three commentary tracks that take you deeper than ever before into the world of one of sci-fis most exciting and revered tales. When John Murdoch (Rufus Sewell) wakes with no memory at the scene of a gr! isly murder, he soon finds himself hunted by the police, a wom! an claim ing to be his wife and a mysterious group of pale men who seem to control everything and everyone in the city. Starring Rufus Sewell (The Illusionist), Jennifer Connelly (A Beautiful Mind), William Hurt (A History of Violence) and Kiefer Sutherland (TVs 24).If you're a fan of brooding comic-book antiheroes, got a nihilistic jolt from The Crow (1994), and share director Alex Proyas's highly developed preoccupation for style over substance, you might be tempted to call Dark City an instant classic of visual imagination. It's one of those films that exists in a world purely of its own making, setting its own rules and playing by them fairly, so that even its derivative elements (and there are quite a few) acquire their own specific uniqueness. Before long, however, the film becomes interesting only as a triumph of production design. And while that's certainly enough to grab your attention (Blade Runner is considered a classic, after all), it's painful! ly clear that Dark City has precious little heart and soul. One-dimensional characters are no match for the film's abundance of retro-futuristic style, so it's best to admire the latter on its own splendidly cinematic terms. Trivia buffs will be interested to know that the film's 50-plus sets (partially inspired by German expressionism) were built at the Fox Film Studios in Sydney, Australia, home base of director Alex Proyas and producer Andrew Mason. The underground world depicted in the film required the largest indoor set ever built in Australia. --Jeff Shannon
