The Parasite Murders (18)
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Time Out saysThis first commercial feature by a former underground film-maker offers a heady, if finally muddled, combination of globs of horror and social criticism. Despite its exploitation format, even the British censor discerned a moral to the tale and passed it uncut. Best is the way Cronenberg deliberately manipulates his synthetic cast and bland visuals, whose plastic surfaces erupt to reveal their repressions and taboos beneath; slug-like parasites (a mix of aphrodisiac and venereal disease) rampage through a luxury tower block, turning the inhabitants into sex-craving zombies. But exactly what is its moral? One suspects Cronenberg is laughing up his sleeve, as some (like the censor) read Shivers as an attack on permissiveness, while others take it as an indictment of the whole of modern society. Often, however, the film stops little short of wholesale disgust at the human condition. Misanthropic, indeed, but the black humour and general inventiveness place it high above most contemporary horror pictures.