After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally kills his wife, and becomes involved in a secret government plot being orchestrated by giant bugs in a port town in North Africa.
The residents of a suburban high-rise apartment building are being infected by a strain of parasites that turn them into mindless, sex-crazed fiends out to infect others by the slightest sexual contact.
A young woman develops a taste for human blood after undergoing experimental plastic surgery, and her victims turn into rabid, blood-thirsty zombies who proceed to infect others, which turns into a city-wide epidemic.
After getting into a serious car accident, a TV director discovers an underground sub-culture of scarred, omnisexual car-crash victims who use car accidents and the raw sexual energy they produce to try to rejuvenate his sex life with his wife.
Darryl Revok is the most powerful of all the scanners, and is the head of the underground scanner movement for world domination. Scanners have great psychic power, strong enough to control minds; they can inflict enormous pain/damage on their victims. Doctor Paul Ruth finds a scanner that Revok hasn't, and converts him to their cause - to destroy the underground movement.Written by
Paul Reynolds <firstname.lastname@example.org>
At the very beginning of the final fight between Revok and Cameron, Cameron hits Revok in the head with a statue. When the camera cuts to Revok's face before the statue makes contact, there is already blood on Revok's face where the statue is about to hit. See more »
Credits scroll like words on the CONSEC computer monitor. See more »
Additional change to censored version: in the final battle between Vale and Revok, they substitute a weaker ending which freeze-frames Vale, shows some phony-looking blue streaking animation of a "mind transfer" from Vale to Revok, and then fades the screen, replacing the spectacular, but gory battle almost entirely. See more »
A common aspect of most great films is that they take time to sink in. Into their audience and into culture. Upon seeing a good film an audience will often know whether they've liked it or not, but what they won't know is quite why. That is what takes time to sink in. As a film is thought about and even seen again once or twice does it become great. It is the basic test of time that all classics must pass in order to achieve that honored status. The term "instant-classic" has always been a marketing gimmick since if you can take in the whole of a film instantly it means that it didn't offer a lot and isn't as good as it could have been.
David Cronenberg's films are those films that you have to see more than once. Many people today don't get that that's where the fun of a good story is: it's not a quick fix of special effects, but rather something that grows on you. Even if you end up not liking the film, the thinking about it and possibly re-seeing it will tell you WHY. Today many people don't care to go that far and just settle on eye candy. Nothing is wrong with eye candy, but when your mother told you to eat your vegetables, she wasn't just talking about food.
"Scanners" is not just a great film that was ahead of its time when it came out, it is a great director's first conceptual masterpiece. Cronenberg showed much promise with his early works, but he was clearly on the learning curve. With "Scanners" he make use of bigger sets, more expansive special effects all while presenting a frightening aspect of ever developing computer technology in an interesting story. The kicker is that most of what the film presents is relevant in more ways than one to today's world. Maybe not quite word for word, but this film is quite prophetic and a science fiction classic. --- 9/10
Rated R for violence and gore. Ages 13+
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