Action / Horror / Sci-Fi / Thriller

Rotten Tomatoes Critics - Certified Fresh 65%
Rotten Tomatoes Audience - Spilled 40%
IMDb Rating 5.7 10 10255


Uploaded By: OTTO
Downloaded 32,423 times
April 22, 2013 at 02:48 AM


Sarah Gadon as Hannah Geist
Malcolm McDowell as Dr. Abendroth
Wendy Crewson as Mira Tesser
Caleb Landry Jones as Syd March
720p 1080p
847.24 MB
Not Rated
23.976 fps
1hr 48 min
P/S 0 / 10
1.60 GB
Not Rated
23.976 fps
1hr 48 min
P/S 0 / 6

Movie Reviews

Reviewed by robotrequiem 7 / 10

Unique and refreshing concept

I really liked this film. It's not without its flaws, but I give it major points for a unique, interesting concept and its sterile visual style.

As a horror and sci-fi fan, I wish there were more films like Antiviral. Ones, that either on their own or by effectively combining the two genres, bring new ideas to the table and use thoughtful art direction. Sadly nowadays, most just regurgitate the same old concepts and then throw gratuitous amounts of special affects on top to make them feel "new". Antiviral seems to step out of that box.

As mentioned, it isn't perfect, but a really great film for sci-fi/horror fans looking for something less cliché and more unique, something that can be hard to find within these genres today.

It's a pretty low-budget film, so don't expect a ton of crazy sci-fi special effects. But this is exactly one of the things that works for it. It feels futuristic, but only just enough so that it feels like the not TOO distant future. This fits perfectly with the idea of people being so obsessed with celebrities they pay to be infected with their diseases. Since our society is already relatively obsessed with celebrity culture, Antiviral's world feels distant, but not too far off.

One issue is that the plot can feel a bit unfocused here and there. Viewers won't feel lost, but this flaw does prevent Antiviral from being a really solid film. Also, the acting and dialogue feel contrived at times. But I did enjoy Caleb Landry Jones's portrayal of Syd.

Reviewed by siderite 9 / 10

Creepy and horrorful in a way that is both fresh and engaging

Brandon, the son of David Cronenberg, brings to the screen a story that contains no alien monsters, no supernatural forces, no serial killers. Instead, the actor is ourselves, the people, while he subtly manipulates the scene to expose the "viral" sickness of the world. Beautifully done, a little slow paced, but worth it.

The main character is a guy (Banshee from X-Men, now even creepier - he made a great role) who works as a technician in a company that buys and sells celebrity diseases. Say Beyonce has a rash, she sells it to these people who then sell it back to you, so you can have the same rash as she had. It gets even more complicated, with people trying to steal this biological material, while some are trying to copy-protect it and/or patent/copyright stuff. There is a black market for steaks cloned from the genetic material of your favourite celebrity.

The idea is great and they could have stopped here, with a boring movie about an interesting idea, but they did not. The movie is beautifully done, visually stunning, with an eerie soundtrack, good acting and a good script. Who does that anymore?

Bottom line: the world is insane and going more so. The film exposes it in a fresh and intelligent way. It is a great film that fringes on horror (by showing people real horror, not something made up), but is basically a very good sci-fi movie. I recommend it to all.

Reviewed by kalebedward 10 / 10

Antiviral is the prescription, your brains are the disease.

Brandon Cronenberg's first feature film, Antiviral, is a stunner. Set in the very near future where celebrity obsession has become paralyzing infection of the populace, a salesman in a virus clinic sees beyond the cloud of asphyxiating distraction and, by virtue of his own addictions and through chance of fate, is drawn into a complex mystery, that only he can solve.

That being said, we'll never get to meet Hannah Geist. Because Hannah Geist died. But we could meet our Hannah. I have a friend who once said he never wanted to meet his heroes because it would humanize them in his mind. That's dead on. Once met in person, these glamorous people become humanized and small. This is key in keeping in perspective the danger celebrity obsession can become.

In Antiviral, all news channels seem to be E! television, an invasive look into the lives of celebrities. It is never explained why these people are famous, but it is surely to allow them to act as proxies of any audience favorites. The lengths these people go to, be closer to these celebrities includes injecting themselves with viruses in an act of biological communion. And the man gets paid off of all of that.

Syd works in one of these virus clinics and sells the sauce to fans, giving them whatever sickness they desire, from whichever superstar they can afford. But Syd is clever and makes money on the side selling stuff from the factory to a steak dealer. Furthermore Syd is not immune to the societal plague, and he constantly injects himself with a variety of sicknesses.

The film works as a drug abuse parable, a cautionary tale about mass obsession, a mystery, and a philosophical gauntlet. Every audience member will come down on the film a little differently and Antiviral acts as carefully calibrated barometer, reflecting shallow obsessions back on the viewer. Whether you read trashy supermarket magazines or work as a paparazzi most people in our media saturated culture will recognize this future as fairly prescient.

Beyond those casual fans, the film comments on that old Cronenbergian horse, the flesh. What newer transformation of the flesh than to have yourself injected with a virus. Antiviral, equates these obsessions with addiction, and as each plot point turns, these themes are blended and blurred for Syd. Even when you think you have every turn and motivation figured out, Cronenberg keeps you guessing until the very end.

The design and sound of this film are engrossing. His use of white as negative space, contrasted with only giant photos of the famous, create an angelic atmosphere, as if in the clinic one could buy heaven with enough money. As the film progresses, we shift to blues and blacks, only to find ourselves in the white of the clinic again by the end. These color shifts are smooth and compliment the story, as Syd's morality shifts again and again. The score is droney and dark, in the best possible way. It looms seamlessly over uncomfortable imagery a slithering force neither condemning nor praising the actions on screen but providing intensity to the text.

I enjoyed this film immensely and hope to see a new trend of body-horror oriented filmmakers come out of this amazingly entertaining whirlpool of a film. I cannot wait to see the next film from Brandon Cronenberg.

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