Movie Essay: The Body Horror of Videodrome

Videodrome is director David Cronenberg’s philosophical deconstruction of American culture, circa 1983. Yet, it remains relevant today as a commentary on the way in which American style violence infects the world. The story of shock television programmer, Max Renn, played by James Woods, Videodrome is not so much about Max as it is about how the American culture of violence is like an infectious disease spreading across borders. 

Max Renn is a carnival barker in the guise of a television executive. As the proprietor of Channel 83, Canada’s least watched yet most controversial cable network, Max specializes in blood and guts from around the globe. His programming features pornography and violence and even pornographic violence. Anything to get attention and sell advertising is okay by Max. But beyond his anything goes style of programming lingers and emptiness, a soullessness that makes Max the perfect test subject for Videodrome. 

What is Videodrome? For max, it’s the next big thing in sex and violence. Via his expert engineer and satellite pirate, Harlan (Peter Dvorkin), Max has stolen Videodrome with the intent of airing it on Channel 83. All that Videodrome appears to be, from what we are shown, is an hour of excruciating BDSM. A nude woman, never named, is brutally whipped for nearly an hour. There is no plot, no characters, just sexual violence. 

Max is convinced that he has a hit on his hands. 

What Max doesn’t realize, not immediately anyway, is that Videodrome isn’t a TV show. Videodrome was not filmed on a soundstage in Malaysia or Pittsburgh. No, the Videodrome is real… sort of. With the aid of a long dead Professor, Dr Brian O'Blivion (Jack Creley), Max discovers that Videodrome is the creation of a shadowy American, political cabal. It was created to take over vulnerable minds, like Max’s, and use violent imagery to compel the vulnerable toward violence. 

Max was chosen because he was a soulless hack, a man with no moral center, a man who lacks character. Max is an empty vessel that Videodrome, and the cabal, behind it can manipulate to do their bidding. Max represents the world consumer, the viewer, the audience drawn toward the twisted thrill of blood and sex and violence. Videodrome is the hypnotic drug of sex and violence that once made up so much of American culture and spread around the globe by television and movies via VHS or Betamax. 

Find my full length review at Geeks.Media 

Movie Review John Q

John Q (2002) 

Directed by Nick Cassavetes 

Written by James Kearns 

Starring Denzel Washington, Robert Duvall, James Woods, Anne Heche, Kimberly Elise, Laura Harring 

Release Date February 15th, 2002 

Published February 14th, 2002 

Is it me? Do I not watch the news enough? I'm asking because I've only seen one hostage situation in my life.

This guy barricaded himself in his parent's house and held his mom hostage after his step-dad tried to kick him out. It ended in one hour after the guy accidentally shot himself in the leg. Yet Hollywood would have us believe these things happen all the time. Either its some good guy wronged by the "system" or it's a showcase for some slick talking hostage negotiator who makes his own rules despite always being suspended for his out of control behavior.

The new Denzel movie, John Q., falls into the first category. And though it's everything you've seen before it's saved to a point by Denzel's dignified professional performance.

John Q is the story of John Archibald, a factory worker who's struggling to provide for his family after his hours are cut. The story really begins when, during a little league game, John's son falls ill and is rushed to the hospital where we're informed he has a heart problem and needs a heart transplant. Well, needless to say, hearts don't grow on trees. 

There are forms to fill out and once you find a heart, the surgery itself is prohibitively expensive. Cost means nothing to John who will do anything to save his son including taking the hospital emergency room hostage with all it's patients, including colorful characters played by comedian Eddie Griffin and Shawn Hatosy. It is from here that John Q. dissolves from a moving family crisis film to a stock cliched hostage movie.

The hostage scene setups are strong because of Denzel Washington. As an audience member I automatically cheer for him to succeed. But once in the hostage situation director Nick Cassevetes begins piling on the cliches. Robert Duvall stars as the calm and understanding negotiator trying not to hurt anyone and Ray Liotta is the pigheaded lout who gets to yell the classic hostage movie line, "Take the shot" as the sniper slips precariously close to our hero. 

,Considering we're only one hour in and Denzel is the lead, I seriously doubt he will be killed at this point. And of course, John bonds with his captives, he even let's a couple go, and punishes the standard jerk of the captive crowd (there is always one jerk). It's like an episode of Fear Factor, there is an element of suspense but it's network TV so no one is in any real danger.

The actors involved do all they can with their roles with Denzel doing most of the heavy lifting and James Woods helping a good deal. As the big-time heart surgeon, Anne Heche has the thankless villain role for most of the film as the head of the hospital that denies John's son's treatment. Hospital-HMO bureaucracy is supposed to be the film's main story arc but it's so overdone that by the end, the director and screenwriter are beating you over the head with the "HMO is evil" message. Who already doesn't know HMO's are evil?

Despite Denzel's best effort, John Q. is a lame parable about the evils of hospital politics buried in cliches and stock been-there-done-that situations.