Rent The Brood (1979)

Are you my mummy? - The Brood review by NP

Written by Director David Cronenberg whilst his recent divorce was still in his mind, 'The Brood' is grim and at times, deeply unpleasant, and works extremely well as a horror film. The central character of Nola (Samantha Eggar) was based to a certain extent, on his ex-wife. Eggar plays her role to perfection, hinting that something is not quite right, but in no way preparing us for the revelations to come.

Among the impressive cast is Oliver Reed, restrainedly playing D. Raglan, who also imbues his character with such layers, we're not quite sure whether he acts for good or evil. A lot of the characters are similarly opaque. Teacher Ruth Mayer (Susan Hogan), briefly seen, is possibly the story's most wholesome; her role is memorable, particularly for a bloody, horrifying scene in a classroom, where some of the children are not what they seem.

Ah yes, the children. The true monsters of the piece, are horrifyingly filmed, sometimes obscured by shadow. Their role in the story is as imaginative as it is shocking.

Plenty to see here, albeit behind the hands and through the fingers. All filmed in crisp, cold colours. To me, this is Cronenberg's wincing, graphic triumph. My score is 8 out of 10.

Custody, Carnage and Cold Comfort - The Brood review by griggs

Few directors have turned personal pain into pulpy horror quite like Cronenberg, and this may be his most emotionally loaded film before The Shrouds. The Brood channels the mess of divorce, therapy, and parental estrangement into a horror story that’s unsettling precisely because it feels so raw. It’s his most direct body horror: no metaphors to puzzle over, just trauma made flesh—and then set loose.

The film is well-acted and tightly made. You care about the character, even when the script offers them little room for warmth. It’s a solid 90 minutes of unnerving cinema, but one that lacks the twisted humour or irony that often make Cronenberg’s films perversely fun. This one takes itself—and its anguish—very seriously.

What’s harder to overlook is its gender politics. The portrayal of maternal rage is unflinchingly grotesque, and not in way that feels especially fair. The Brood is potent, no doubt, but the worldview it offers is cold, angry, and a bit one-sided. Therapy may be the monster, but motherhood doesn’t come out looking great either.