Possessor: Uncut

audience Reviews

, 54% Audience Score
  • Rating: 4 out of 5 stars
    "Sometimes that small thought is all it takes to lose control." Now this is something unforgettable. Since I've been waiting for this ever since Sundance. As the son of David Cronenberg, he lives up to his fathers name. Following his footsteps, this is a visual heavy film. Everything is shot beautifully, even if what's on screen is horrifying. Warm colors are brought out making a vivid picture. Then there's the added visual horror elements. There's only a couple scenes using visual effects that were most interesting to look. Not too much detail is put into it but it feels strange just looking at it. I'm not sure how to explain but it works in this situation. Everything else is done with practical effects. It gives it a more authentic and unsettling feel. The score helps set the offsetting tone as well. And since I saw Possessor Uncut, there's no holding back with the gore. I don't know any place that isn't playing this version but all audiences are warned beforehand. Some may call me a sociopath, but I'm glad they didn't hold back with this. With this story, the excessive gore made the experience so much better. Anyone who is freaked out by gore will definitely not enjoy this, especially the third act. Though Andrea Riseborough is billed as the lead, I felt most of the credit should go to Christopher Abbott. Not that she didn't do well because this is a great performance by her with the screen time she gets. But Christopher Abbott drives the whole film. He has two characters with three different personas. To break it down there is himself, Risenborogh in him, and the third act turns everything crazy. He deserves so much credit as it's his best performance to date. A good chunk of the horror doesn't come from the gore and visuals but rather the characters. Seeing them evolve into their sinister selves over the course of the film is quite interesting. You don't know who you should be siding with. All have evil roots and it's tough to connect with them. But you can't help but hope everything goes well on Risenborough's part. As Cronenberg's second feature film, he proves to be another master of horror. I have yet to see Antiviral but I've heard good things about it. And this isn't necessarily just horror. The sci-fi element bends the genre into a mind-bending film really. With every film of this type, there's always questions to be answered. Possessor does get caught up with how confusing it can get. I mainly understand most of what happened but a little more information would have been nice. Especially the beginning. There isn't much exposition on what we're getting into with this company. The film just starts and keeps going. I'm fine with this but a little more information would be nice. Overall, Possessor really did it for me. As a mind-bending, slow burn, gore-fest this won't hit well with all audience. This is for certain people and those people know who they are. I'm eager to see this again and I hope that is soon.
  • Rating: 0.5 out of 5 stars
    The worst movie. Total waste of money!! My wife and I walked out of the movie 35 minutes after it started!!
  • Rating: 5 out of 5 stars
    Enjoyed it! Raw, unrelenting, moody, dark, visceral. Extra points for practical effects, which really added to the grittiness of the film.
  • Rating: 5 out of 5 stars
    This was a fantastic movie. The concept is completely original and the execution was perfect. If you like a mindbending trip and good body horror then Possessor is for you.
  • Rating: 1 out of 5 stars
    0-5 stars. This movie was horrible & nothing was explained. Also. It felt like watching porn during some parts a d was extremely disturbing. Would not recommend.
  • Rating: 3.5 out of 5 stars
    BUDGET OF BLOOD Son of Franken .. er, Cronenberg! With his daddy's penchant for shadowy sets and copious blood flow, combined with a thought-provoking dystopian premise, Brandon Cronenberg keeps it all in the film family. "Possessor" tracks a mysterious operative that knocks off no good corporate bigwigs in a most ingenious manner of hostile takeover. With an icky insertion of a control chip in the back of the head, an innocent can be controlled remotely by another, resulting in the perfect, untraceable, suicidal assassin. The possession is tricky though, not a complete one way transferral (the technology of course, isn't foolproof) and there is some glitchy twitches as body and mind vie for control. Interesting stuff. The host and possessor switcheroo gets saucy when female Tasya (Andrea Riseborough) inhabits male Colin, (Christopher Abbott) and tries to pull off all relationship nuances leading up to the job. Brings the "who are you?" relationship question to a new level, not to mention the artificial intelligence doom angle all SciFi flicks adhere to. But let's not forget that this is a Cronenberg film, and that means in spite of the cerebral lure, the squeamish need to stay the hell away. There is a bloody body count, and it is always a messy, slow and squishy affair. Artistic in a morbid manner if you will. Like father, like son: a dead ringer. - hipCRANK
  • Rating: 5 out of 5 stars
    An exceptional film that creatively expands upon the cold, detached, sleek directorial touch of Brendon Cronenberg, son of David Cronenberg, improving on his previous film "Antiviral" by increasing the surreal how-did-they-do-that imagery, upping the color scheme, increasing the disturbing imagery, violence, and overall downer vibes that are sure to depress as much as they impress while coming up with thrillingly original themes about loss of identity mixed with innovative special effects for an indie film. In theaters this was the UNCUT version, which is stronger than the R rated version and is almost NC-17 content wise due to having stronger violence/gore and sexuality/nudity than the original cut in the original format. I never heard a more vocal audience than with this movie, which is saying something if you can actually get your nearly always silent audience to react to the visceral emotional, extreme content, etc. This movie won't be for everyone, as everyone at the closing credits was shocked at how dark it went, so numerous reactions to the abrupt ending after the horrors included the most common response being "Jesus..." That being said, I f**king loved it, I give it an 8.75/10. I saw it with my brother who considers it tied for his favorite film of the year and gave it a 9/10.
  • Rating: 1.5 out of 5 stars
    A vision too ambitious for this film. It drags with each self indulgent shot and fails to satisfy in the end. The premise is good enough for a shorter movie. Maybe the edited version of this movie is better.
  • Rating: 5 out of 5 stars
    insta: @essential_films "Be yourself; everyone else is already taken." - Oscar Wilde If by the very definition, identity is the notion of being self-conscious of your individuality, then why do social constraints frame our opinions of selfhood? Why do we need to be compared on the scale of an optimal "appropriateness" to embrace our uniqueness? ———————————————————————— Did Brandon Cronenberg make a good film? ................................................................................... In general, the work of Brandon Cronenberg epitomizes a visionary revolution. Each frame is verified to the ferula of sublimity, the colours were selected following the palette, and if blood splatters occur - they must be on a white background: fashionable sneakers or a white shirt. If filmography of Cronenberg Sr. gave birth to its own style, Cronenberg Jr. looks like a diligent film school graduate who puts harmony to mathematics. This approach does not always work. But in cold, brutal and prosecutorial Cronenberg-style films, it pertains perfectly. For all the aestheticization and fetishism in relation to violence, it is not comedic here, like in Tarantinism, or redundant, like in Von Trienism. It is exactly such that you feel the pain, embrace the dread. Such that, the slogan-pun "No body is safe" was not an empty vocalization. Probably, this is the main body-horror component and brilliance of the "The Possessor" - not to mock the bodies of the characters, but to make the viewer's body tremble. Unlike the debut "Antiviral", the new film cares more about the viewer. Most likely because of a larger budget at its stake. If the first half of the film is still flesh and blood of the author's competitive film, rich in experiments with the camera and narration, then the second is a completely traditional tense thriller that looks undeniably exciting, culminating in a Nolanesque denouement. This movie is a nerve-wracking semantic trap. The viewer is offered familiar genre boundaries - the struggle between the protagonist and the antagonist. But in the Cronenberg films, these boundaries are always a deception. After all, their favourite theme is the fragility and multidimensionality of reality. As in the best works of Cronenberg the father, the reality in "The Possessor" becomes thinner, melts and merges into something new. This is perfectly supported on the visual level with the help of practical effects: the transition of consciousness is shown by the melting of wax figurines, and the stretching of someone else's personality - with the help of a disgusting silicone mask. The effect is enhanced by the camera of Karim Hussain, Brandon's permanent cameraman. His manner of shooting emphasizes the emotional state of the characters - camera trembles when they are under stress, goes aside when they have something to hide, and almost the best moment is a fleeting drop in the quality of resolution when we, following the character, begin to doubt reality. When "The Possessor" is analyzed retrospectively, it's cultural relevance amazes. Simpler - criticism of the era of social networks. More difficult - the transgender statement. After all, the main conflict of the film, of course, is not a topical one between the parasite and the host. Therefore, we argue that the opposition of the second half is a knot. The core opposition exists within the main character - denial of nature and an attempt to live "normally". The topic of transgender in the film is carried out so unobtrusively that you will rather not notice it, but after watching it, you will be surprised at how it was hidden in plain sight. However, this topic is just a vivid metaphor for a more fundamental statement: by driving yourself into someone else's framework, you destroy yourself and the lives of loved ones. The list of topics that Brandon Cronenberg raised in his new work is extensive: the new sexual revolution, power, the nature of violence, dislike, obsession with social media, inhuman corporate culture, money, family, oppression by stereotypes, philosophy of reality, aesthetics... Thanks to such a high concentration, the world of the "The Possessor", despite its artificiality, looks very alive. It is filled with ideas to the brim, and living in it is as difficult as in our reality. Maybe even easier. ———————————————————————— STYLE: 10/10 PLOT + CHARACTERS: 6.5/10 ACTING: 10/10 MOOD: 10/10
  • Rating: 5 out of 5 stars
    Everyone rating this movie low is a wimp. Beautifully shot and engaging throughout. One of the best movies I've seen this year and the performances were great.