Videodrome (David Cronenberg, 1983) (Criterion) [RePoPo]

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Name:Videodrome (David Cronenberg, 1983) (Criterion) [RePoPo]

Total Size: 1.36 GB

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Torrent description

Videodrome (David Cronenberg, 1983)
Technical Information
Type..................: Movie
Container file........: AVI
Video Format..........: H.264
Total Bitrate.........: 1987 Kbps
Bits/(Pixel*Frame)....: 0.300
Audio format..........: AC3 192 Kbps (Untouched)
Audio Languages.......: English 1.0
Subtitles Ripped......: English, Spanish
Resolution............: 720x384 (Same as DVD, cropped black bars)
Aspect Ratio..........: 1.85:1 (approx.)
Original Aspect Ratio.: 1.85:1
Color.................: Color
FPS...................: 23.976
Source................: NTSC Criterion DVD
Duration..............: 01:28:50
Genre.................: Sci-fi, Horror
IMDb Rating...........: 7.3
Movie Information.....:


This rip comes directly from the Criterion DVD.

Size has been calculated in order to get the optimum PQ without oversizing the
file, hence the irregular size of the file (not the usual 700Mb/1.4Gb rip).
A rate of Bits/(Pixel*Frame) around 0.3 is perfect, above that point, picture
quality becomes virtually the same to the original source.

Check you have installed the right codecs, as listed in this .nfo file, before
trying to play it. VLC will play this file without having to install any codec.

If you don't like the codec(s), container, resolution, file size, languages or
any technical aspect on this rip, keep it to yourself and go and do your own.

Serious feedback on quality will always be welcome. IF you can/can't play it
on standalone players, PS3, Xbox, etc etc, that'd be of interest so I can
enhance future rips.

Release Notes

When Max Renn goes looking for edgy new shows for his sleazy cable TV station,
he stumbles across the pirate broadcast of a hyperviolent torture show called
Videodrome. As he struggles to unearth the origins of the program, he embarks on
a hallucinatory journey into a shadow world of right-wing conspiracies,
sadomasochistic sex games, and bodily transformation. Starring James Woods and
Deborah Harry in one of her first film roles, Videodrome is one of
writer/director David Cronenberg’s most original and provocative works, fusing
social commentary with shocking elements of sex and violence. With
groundbreaking special effects makeup by Academy Award®-winner Rick Baker,
Videodrome has come to be regarded as one of the most influential and
mind-bending science fiction films of the 1980s.

James Woods - Max Renn
Sonja Smits - Bianca O'Blivion
Deborah Harry - Nicki Brand
Peter Dvorsky - Harlan
Les Carlson - Barry Convex
Jack Creley - Prof. Brian O'Blivion
Lynne Gorman - Marsha
Julie Khaner - Briley
Lally Cadeau - Rena King
Sam Malkin - Bum
David Bolt - Rafe
Harvey Chao - Japanese Salesman
Bob Church - Newscaster
Jayne Eastwood - Caller
Henry Gomez - Brolley
Kay Hawtry - Matron
Rainer Schwartz - Moses

David Cronenberg - Director / Screenwriter
Claude Heroux - Producer
Mark Irwin - Cinematographer
Howard Shore - Composer (Music Score)
Ronald Sanders - Editor
Carol Spier - Production Designer
Pierre David - Executive Producer
Victor Solnicki - Executive Producer
Delphine White - Costume Designer
Frank Carere - Special Effects
Rick Baker - Makeup Special Effects
Peter Lauterman - Properties Master


Jason Boyberg

A sterling example of David Cronenberg's signature mindfuck style of weird
cinema, 1983's Videodrome is one of those films that tends to elude you
regardless of how many times you watch it. It's the type of trippy fright flick
that confounds you even as it pulls you relentlessly forward with its disturbing
imagery and gross-out watchability. At film's end, you're likely to rub your
noggin and frown and wonder whether you've endured a waking nightmare during a
great portion of Videodrome's running time. Is the film a bloody indictment of
the effects of television violence? Or is it more likely a Cronenbergian comment
on the increasingly organic relationship between man and media, between flesh
and technology, between the mind and the machine? It's likely a bit of all those
things, and even today, I'm a bit bewildered by the prospect of summing up this
film in a few short paragraphs.

Jaded Max Renn (James Woods) heads up a tiny, independent cable TV station that
specializes in edgy softcore erotica and disturbing violence. Max is always on
the lookout for the next piece of provocative sleaze, hunting the airwaves with
his technical assistant Harlan (Peter Dvorsky) and searching the globe with the
help of video freelancers like Masha (Lynne Gorman). When, with the help of
Harlan, he stumbles on a fuzzy broadcast of something called Videodrome, which
seems to feature graphic depictions of torture and murder, Max believes he's
found something significant, the type of aggressively offensive video that's
perfect for his station. As he pitches forward into his investigation of
Videodrome's origin, he becomes involved with self-help maven Nicki Brand
(Deborah Harry), and we find, as their relationship develops, that both share
sadomasochistic desires that feed directly into Videodrome's allure. After Nicki
disappears on her own quest to find Videodrome, Max finds himself experiencing
increasingly bizarre hallucinations involving his stomach and his TV. By the
time he meets Videodrome's Barry Convex (Les Carlson) and the elusive Brian
O'Blivion (Jack Creely), Max is at the epicenter of a horrifying dreamscape,
under the sway of some kind of video-borne mind control. That's Videodrome in a
nutshell, and yet there's no way to adequately convey the way this film burrows
under your surface and leaves you feeling as mind-altered as poor Max.

It's also difficult to determine at what point in Videodrome's baffling plot
trajectory that its events become merely fragments of Max's fractured mind. It's
a slow descent into an alternate pseudo-reality in which a huge console TV
bloats with life and folds Max into a moaning, gasping, sexual embrace…in which
Max's abdomen cleaves into a vagina-like orifice that will accept firearms and
Betamax tapes at its sucking whim…and in which characters come and go, dead or
alive, within the dream reality of Videodrome. Soon, Max is himself a
biotechnical weapon infused with malicious intent, and you're reminded of
Cronenberg's eXistenZ, the 1999 film in which the director returned to story
duties for the first time since—you guessed it—Videodrome. The two films make
for a striking double feature, offering up twin stories of bizarre hallucinatory
mindscapes and body-obsessed horror, and they might represent the most powerful
manifestations of Cronenberg's statement on the sway of the mind and the flesh.

You're left puzzled by the outward events of Videodrome, and yet you feel an
almost visceral charge resulting from the onslaught of eroticized video-and
technology-based imagery. These are truly images from out of your weirdest
nightmares, made all the better by the fact that they're all practical effects
rather than today's distanced CG imagery. These effects ooze with fleshy
realism, and you can almost smell their wet messiness. These effects, combined
with the film's zealous statements about media violence and technoflesh, start
your synapses firing, and you begin searching for meaning in the muck. You start
thinking about what you're watching on cable, and you start wondering fearfully
about what's going on in the minds of your children when you catch glimpses of
their zombified stares in front of the TV. And you think, Maybe it's too late.
Maybe we're already under the influence of the very thing Cronenberg
foreshadowed with that Beta-tape-in-James-Woods'-guts thing. Jokes aside,
Videodrome remains a remarkably prescient endeavor, particularly to those of us
writing and reading this review—yeah, you, you purveyor and obsessor of
video-based media.

The actors do an admirable job of bringing all this weirdness to pulsing life.
Woods is oddly mesmerizing as Renn, our protagonist, and even as the things
happening to him get more and more outrageous, we're there with him for every
moment, eager participants in his psychotic predicament. Harry is a little
awkward in one of her first acting roles, but there's no denying her masochistic
allure. The bit players all share that weirdly stilted Cronenberg vibe, which
feeds into the director's peculiar oddities. Maybe it's a Canada thing.


Criterion presents Videodrome in a beautiful anamorphic-widescreen transfer of
the film's original 1.85:1 theatrical presentation. This is really a gorgeous
effort that belies the film's 21 years. Boasting a filmlike depth, the transfer
offers a supreme level of detail, reaching into backgrounds. Sharpness is out of
this world. The film's color palette is very accurately translated, with no
bleeding or smearing. Everything is quite stable. I noticed some fairly
significant source grain in a few outdoor shots, but nothing to get too uptight
about. It's a remarkably clean print. Through a digital-restoration process, a
lot of debris has been removed from the source print, but occasional dirt specks
are in evidence here and there. Blacks are inky. This is an extremely satisfying


The disc's Dolby Digital 1.0 mono presentation accurately translates
Videodrome's original audio track. Obviously, it's a center-focused affair,
offering no engagement from the sides, but the fidelity is very much intact. It
also offers a surprisingly effective low end, particularly in Howard Shore's
moody, electronic score. Dialog is clear and accurate, if a tad over-processed
in a few scenes. Criterion has done an admirable job cleaning up hiss and other
imperfections while retaining the track's fidelity. Overall, this is an amazing
presentation considering its mono source.

(removed part referred to extras)


Criterion hits one out of the park—shall we say, out of the mind?—with
Videodrome. This is a lovingly packaged and presented film experience, complete
with uncommonly fine video and audio and stimulating extras. Cronenberg fans
will find this set an absolute must, and all others should at least consider a
blind buy of one of the director's very best works.

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