The other other Benedict Cumberbatch movie of the fall season, The Electrical Life of Louis Wain, is perhaps the kind of film we might have expected from the star a decade ago. Here he stars as the titular famed artist in the kind of flowery biopic crafted with an aesthetic just left of center, the kind that has influences from Tim Burton to Julie Taymor to Richard Attenborough. It is the sophomore feature directing effort of Will Sharpe (also sharing screenwriting duties with Simon Stephenson), who brings a great deal of stylish panache to the proceedings. But in capturing a turbulent life, Sharpe delivers an uneven biopic.
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In Review: Possessor
Straddling the lines between science fiction and grotesque body horror, Brandon Cronenberg’s Possessor conquers genre boundaries as viciously as some of his onscreen violence. The film approaches issues of surveillance and identity to mind-bending effect, morphing into a grim psychedelic crime story that presents our minds as hacked by shadowy corporations. Andrea Riseborough stars as Tasya Vos, an experienced agent for a company with the technology to inhabit the brains of their marks and carry out assassinations in plain sight. But the business of inhabiting another person’s mind is having disorienting effects on Vos, blurring her own consciousness as she takes on her next assignment. But in the hands of Cronenberg, Possessor is as much of a head fuck for the audience as it is for his fractious protagonist.
