Editorials
The Pain Begins! You Can’t Breathe! You Explode! David Cronenberg’s ‘Scanners’ Turns 39!
“I’m gonna suck your brain dry…”
On the anniversary of David Cronenberg’s mind-blowing ‘Scanners,’ the telekinetically charged conspiracy thriller has never seemed more relevant.
A director like David Cronenberg is someone who doesn’t need to worry about repeating himself. As the filmmaker was coming out of the ‘70s, he had just finished work on films about brainwashing apartment slugs, armpit vampires, and killer monster children, but the 1980s marked a very exciting, formative time for Cronenberg. His first film in the ‘80s, Scanners, is a bonkers conspiracy thriller that’s full of bewildering psychic powers and stunning effects that literally blow minds. Cronenberg’s Scanners marks a larger scale of storytelling for the director, but one of the most noticeable things about Scanners as it nearly hits its 40th anniversary is how modern of a movie it is. It’s nearly four decades later and Scanners still feels like an incredibly contemporary story. This helped Scanners gain acceptance upon its release, but it’s also why the film holds up so well today. There have been efforts to reboot Scanners, both as a film and television series, and it’s because it presents such a simple, effective story. It’s basically Cronenberg’s take on X-Men, but if every character was Charles Xavier and super paranoid. On Scanners’ anniversary, we take a look back on why the film was such a significant step in Cronenberg’s career and how it remains relevant even today.
David Cronenberg wouldn’t create Scanners until he already had a few feature films under his belt, but the movie’s production started all the way back in the 1970s when the idea first gestated to Cronenberg via a script called The Sensitives. This psychic-centric script later evolved into a broader story called Telepathy 2000 that he tried to grab B-movie savant Roger Corman’s interest with, before it finally settled into the political thriller form of 1981’s Scanners. The film also acts as an update and pseudo-sequel of sorts to the director’s faux documentary Stereo, which also looks at psychic powers. Scanners picks up and expands upon many of Stereo’s ideas and even borrows a few concepts from the piece of work (like the concept of drilling into the skull to excavate memories). While Stereo scratches the surface of a fascinating subject, Scanners goes all in and approaches the idea from many grand angles.
Scanners examines a small sect of individuals known as “scanners” who are gifted with heavily advanced psychic abilities, like telekinesis and telepathy. At the center of all of this is a security and weapons corporation called ConSec who wants to exploit scanners and use them to change the world. Cameron Vale (Stephen Lack) is a scanner that ConSec hires to try to take down Darryl Revok (Michael Ironside), a scanner who has gone rogue and, hungry with power, wants to use his scanner abilities for equally nefarious purposes. As these opposing psychic forces grow closer together, the body count increases and it’s implied that society is irrevocably changed by the results of this scanner assassination mission. Jennifer O’Neill and Patrick McGoohan also round out the cast as Kim Obrist and Dr. Paul Ruth, and even though everyone gives accomplished performances, this is really Ironside’s film to shine. He gives a delightfully unhinged, commanding performance that feels akin to Philip Seymour Hoffman’s role in The Master. He’s the perfect antagonist here who manages to be genuinely intimidating.
What’s so impressive about Scanners is that even though it’s still relatively early in Cronenberg’s career, it nicely features pieces of each of his previous movies and feels like a culmination of everything that he has to offer. At the same time, just like Cronenberg is so interested in Kafka-esque stories of transformation, he takes something like a 1970s conspiracy thriller and injects it with science fiction and supernatural elements where psychic assassins and brain explosions take the place of smoking guns and shadowy informants. It’s an incredibly creative idea that helps make Scanners not only feel like a very fresh horror and science fiction film from the early ’80s, but it’s also why it’s still so immensely watchable nearly four decades later. Cronenberg creates a shrewd chimera of social anxiety, political paranoia, and supernatural horror that makes it a stand out piece of cinema and another impressive notch in his filmography. The director gets to indulge in classic action tropes like car chases and shootouts, but then pivots towards surreal ideas about the mind’s evolution and humanity’s apex. This is a considerable amount to tackle in what’s ostensibly the director’s first true science fiction film, as well as one of Cronenberg’s last big efforts as a splashy exploitation filmmaker before he started to become more “mainstream.”
Scanners is a film that turns the human mind into a weapon as it looks at the horror behind something like psychokinesis and how the human race may be evolving towards something dangerous instead of something productive. X-Men comics really helped popularize this idea in the 1960s, especially with Professor X, but in terms of feature films, Brian De Palma’s Carrie in 1976 and The Fury in 1978 really ignited the public consciousness in these areas. Even the Friday the 13th franchise would resort to psychokinetic battles with a Carrie White surrogate in 1988’s Friday the 13th Part VII: The New Blood. All of these films play around with psychic powers, but on a much smaller, human scale. Cronenberg’s Scanners is one of the first that makes this simultaneously personal and societal as it looks towards the future as well as digs into the secret societies that are responsible for this step forward for mankind (and borrows another page from X-Men). It treats psychic abilities and their regulation like they’re some kind of industry that the government controls. Extraordinary powers are turned into taxable exports.
The fact that the whole scanners phenomenon within the film is a result of the human race’s continued exposure for decades to Ephemerol lends even more credence to how Scanners commodifies the supernatural. These brain powers aren’t the result of genetic abnormalities or exposure to some kind of Terrigen Mist bomb, but rather a side effect from America’s overexposure to pharmaceuticals. It’s an incredibly appropriate origin story for how psychic abilities will go on to destroy America. There’s even subterfuge between the two evil corporations, ConSec and Biocarbon Amalgamate, as their schemes begin to overlap on each other in a reflection of the naturally duplicitous nature of corporate America and how it just continues to consume itself.
Yet in spite of all of this nihilistic gloom, Scanners goes out on a decidedly positive ending, especially as far as Cronenberg’s films are concerned. It’s evidence that as bleak as this prognosis of America may be, it’s something that may not be past the point of saving. The fact that Cronenberg’s following films would tackle subject matter that looks at the transformation and perversion of the self rather than that of society is perhaps an important distinction. Mankind at large may be safe, but the individual is still in danger and at risk of corruption if something isn’t done quickly.
Scanners’ conclusion perfectly encapsulates this idea as Vale melds together with his greatest enemy into one benevolent, twisted abstraction. The following films in the Scanners series—none of which have Cronenberg’s involvement in any capacity—explore what that corrupted self looks like in greater detail, albeit in much broader terms. At one point, in response to what Revok and ConSec are trying to do to the scanners, Kim Obrist tells Cameron Vale; “We’re the dream. He’s the nightmare.” That message is even more applicable to Scanners’ extended universe.
Howard Shore consistently turns out great work, but he really got his start through David Cronenberg and his work on Scanners is particularly memorable. Shore creates a nightmarish, moody score that’s heavy on the synth and feels like an angry riff on Bernard Herrmann in many ways. Additionally, Cronenberg also cleverly mixes science with the human body through the film’s sound design during the “scanning” process. As these psychic effects are in play, an atonal noise—not unlike feedback or white noise—begins to dominate the audio and overpowers everything else, including the characters’ cries for help. It’s as if they go through the same level of dissonance that a piece of technology does before it malfunctions. Scanners’ sound design captures the essence of the movie in a remarkable way. Later on during Vale’s takedown of ConSec’s Ripe Program, shots of his pulsing head are interspersed with the inner components of a computer. Brains temporarily become tech before the former destroys the latter.
At the time Cronenberg stated that Scanners was one of his most difficult films to make, largely due to how ill prepared he and his team were. When shooting started, not all of sets had been fully built and the script was also far from finished. In fact, Cronenberg spent most production mornings writing scenes before he’d then scout for acceptable filming locations in the afternoons, before finally moving into filming. In Cronenberg on Cronenberg, the director also recounts how production immediately got off to a troubled, almost cursed start when the crew witnessed a fatal car accident on their first day.
On top of these obstacles, the ambitious effects in the film were another hurdle in some respects. Scanners’ most iconic scene is the head explosion that occurs courtesy of a scanners’ immense psychic abilities. Supervised by makeup and effects wizard Dick Smith, the head explosions in the movie look fantastic, especially for 1981. Their construction involves a plaster skull that’s covered with a gelatinous exterior that’s comprised of scraps of latex, wax, random stringy detritus, as well as “leftover burgers.” It involved a lot of trial and error before settling on this cocktail of ingredients, but even then the explosives themselves failed to go off correctly and create the necessary look that Cronenberg was after. Finally, special effects supervisor Gary Zeller allegedly cleared the set and shot the back of the dummy’s head off with a shotgun to create the effect that ends up in the movie. It’s a glorious level of DIY-level guerrilla independent filmmaking that’s just not seen as much today.
The infamous exploding head scene was supposed to be what kicked off the movie, but apparently test audiences had such a hard time focusing on the events of the film after witnessing such an extreme sight. Accordingly, the scene was moved ten minutes into the film in order to give the movie’s actual story some breathing room before all-out chaos is unleashed. What’s also significant about this head explosion scene is that it’s right in line with the other impressive, gratuitous practical effects from the late ’70s and early ’80s, whether it’s the chestburster from Alien, the devouring mist from John Carpenter’s The Fog, or the unbelievable transformation sequences that are featured in An American Werewolf in London or The Howling.
What’s important is that all of these moments have a degree of levity baked into them, with many of them often taking the implied humor to literal places. Scanners goes the opposite route and instead lets the spectacle speak for itself rather than attempt to defuse it in any way. It’s supposed to catch the audience off guard as much as the people in the lecture hall that are witnessing the demonstration. It’s the beginning of Cronenberg playing around with that kind of reflexivity, which would become even more pronounced in later works of his like Naked Lunch and eXistenZ.
If Scanners‘ notorious head explosion sequence from the movie hasn’t permanently been burned into some synapse of your brain, the film also featured an extremely memorable TV spot that capitalized on the terror that the sequence caused in audiences. This guaranteed that anyone who even saw an ad for Scanners would be frightened by it. Ads like this are now a lost art, but Scanners elegantly used this structure to drum up anticipation for the movie in a way that helped Scanners become Cronenberg’s first major box-office success.
As much as Scanners and its effects still hold up, there are certainly moments that come across as sillier than intended. The psychic showdown in the barn wherein many scanners are throwing their heads in the direction of their target certainly feels like the major inspiration for South Park’s “psychic detectives” parody. In addition to exploding heads, Scanners also indulges in veins that become engorged and jut out of the human body, or individuals that simply burst into flames as a result of psychic energy. The final psychic war between Vale and Revok is a glorious demonstration of unnerving practical effects. The places that this fight and the other psychic battles in Scanners go to feel very reminiscent of the horrific side of superheroes that wouldn’t get properly explored in film and television until decades later (many moments in Scanners immediately conjure up Noah Hawley’s mind-trip of a series, Legion).
Scanners also nicely compliments the middle stage of Cronenberg’s career, which is fascinated by the repercussions from the changes by scientists. These films move from a large, social place to an increasingly more inward realm. After Cronenberg’s first few films Shivers and Rabid took a look at how the work of scientists can lead to a breakdown of all of society, Scanners, as well as the films that surround it like The Brood and Videodrome, look at how the way that scientists play God can lead to much more personal horrors, which in the case of Scanners means learning that you’re someone else’s puppet. Shivers, Rabid, and The Brood all posit their scientific advancements as deadly aberrations, whereas Scanners is the first of Cronenberg’s films that views these scientific abnormalities as sources of power and strength, albeit dangerous ones. It shows a careful, important evolution in the filmography of David Cronenberg.
If there’s any sort of subtextual message within Scanners, it’s that Cronenberg strangely seems to use the film as a cautionary parable about the dangers of the counterculture becoming the overwhelming voice in society. Very pointedly, Cronenberg makes all of the scanners out to be rebellious youth, hippie-esque iconoclasts, or radical political figures who want to shake up the system. Cronenberg paints the fact that it’s these individuals who are now calling the shots and gaining control of society as a very dangerous idea. This is a theme that Cronenberg would also explore to some degree in the more recent Cosmopolis and Maps to the Stars, but it feels the most polished and important to Cronenberg within Scanners. Scanners may powerfully end with Vale becoming one with Revok and technically being more complete than ever, but it’s at this period in time that Cronenberg evolves, much like those that have grown accustomed to Ephemerol. His next films like Videodrome, Dead Zone, and The Fly all shift their focus and look at the dissolution of the self in frightening ways.
Scanners was largely praised upon its release by both critics and audiences. It didn’t win over everyone (most notably, Roger Ebert was not a fan, although he appreciated the special effects), but it continued Cronenberg’s rise throughout the ’80s. The movie was also popular enough to spawn a number of sequels and off-shoot films, making it the only movie from Cronenberg’s filmography to get the franchise treatment. Perhaps most importantly, Scanners’ success allowed Cronenberg to make films outside of Canada, tackle bigger productions and therefore bigger risks, and move into a more mainstream stage of his career, which would both help and hinder the director’s creative aspirations.
There’s a scene within Scanners when Cameron Vale reaches Kim Obrist’s reclusive scanner cell and he learns of a particular scanner who copes with their psychic abilities through art. He creates morbid sculptures, some of his own head, as a means of therapy. In a way, one could argue that Scanners is Cronenberg’s own way of exorcising his own similar demons. He needs to create this disturbing effigy as a way to find peace and move on, which he does as he progresses into the next stage of his career. 39 year later, David Cronenberg’s Scanners is still as entertaining and thought provoking as it’s ever been. Nobody should have to scan your mind to make you check out this classic.
On July 13th, 2026, the world lost one of its brightest stars.
Beloved New Zealand actor Sam Neill passed away from pneumonia after a long battle with stage 3 lymphoma. The multifaceted movie star will be remembered by mainstream audiences for his iconic role as Dr. Alan Grant in Steven Spielberg’s 1993 masterpiece Jurassic Park, as well as powerful turns in A Cry in the Dark (1988), The Piano (1993), and Hunt for the Wilderpeople (2016), and prestige TV series The Tudors and Peaky Blinders. But horror fans know him as one of the genre’s most surprising Scream Kings.
Through a handful of memorable starring roles, Neill spent the 80s and 90s bringing life to a wide variety of characters and finding humanity in the most unusual leading roles, regardless of how heroic or villainous.
The Final Conflict (1981)
After a decade on the stage and screen in New Zealand and Australia, Neill made his international debut as Damien Thorn in Graham Baker’s The Final Conflict, the third installment of The Omen franchise. Now a 36-year-old businessman, Damien is fully aware of his devilish parentage and hell-bent on world domination. But rather than a hooved and horned monstrosity, Neill’s Antichrist is a suave businessman who leads his followers in an expensive suit and seeks to bring about the apocalypse through deceptive altruism rather than grand proclamation.
Despite his austere demeanor, the man’s true evil knows no bounds. When a prophecy foretells the second coming of Christ, known in the film as “the Nazarene,” Damien commands his followers to commit widespread infanticide, murdering all baby boys born on a specific date. He seduces a high-profile reporter while transforming her teenage son into a bloodthirsty disciple, then uses the child as a human shield. This tricky role allows Neill to demonstrate his trademark versatility, easily charming the outside world while dropping his suave mask of normalcy behind closed doors. Though certain aspects of The Final Conflict are admittedly dated, Neill’s performance feels eerily prescient. He’s mastered the heinous portrayal of a politician willing to sell his soul for power that will ultimately bring about the end of the world.
Possession (1981)
Though Andrzej Żuławski’s Possession is often remembered for Isabelle Adjani’s stunning depiction of a woman on the edge, Neill delivers an equally unhinged performance as Mark, a spy returning home from a lengthy assignment in divided Berlin. Upon discovering that his wife Anna (Adjani) wants a divorce, Mark desperately tries to hold his family together even at the expense of her sanity. Filmed the same year as The Final Conflict, Neill dives headfirst into this visceral role, managing to evoke sympathy for the distraught father who becomes ever more desperate to regain control. Inspired by his own divorce, Żuławski resists blaming either party for the separation, instead showing the chaos and heartache that comes in the wake of a family’s dissolution.
Once considered to replace Roger Moore as the next James Bond, Neill has fun with the international spy persona as Żuławski’s plot grows increasingly bizarre. But the skilled actor never lets us forget that Mark is a flawed human being struggling to keep his life from falling apart. A second character emerges in the film’s mesmerizing climax, allowing Neill to lean into full villainy with a glassy-eyed stare that chills to the bone. Now a cult classic, Adjani and Neill bounce off each other’s seething rage, creating one of the most effective cinematic duets in the history of horror.
Jurassic Park (1993)
When Steven Spielberg’s creature feature first hit theaters, Neill was by no means a household name and hardly a traditional leading man. Without the swashbuckling swagger of Harrison Ford, the mega-watt smile of Tom Cruise, or the chiselled jaw of Brad Pitt — all famous action stars of the era — Neill felt like an unconventional choice for this massive role. But he perfectly captures the essence of Grant, an aloof academic who prefers dig sites to fancy fundraisers and social events. Despite an aversion to children, the dinosaur expert finds himself tasked with saving the theme park’s youngest survivors who gradually break down his emotional walls. Grant’s transformation into a courageous caretaker is a landmark deconstruction of traditional gender norms wrapped in the guise of a rugged outdoorsman.
Neill proves to be the perfect action star, effortlessly navigating Spielberg’s stunning set pieces without losing the character’s relatable hook. But perhaps the film’s most touching moment is Neill’s childlike wonder at seeing a dinosaur for the first time. Stunned to speechlessness, he channels the audience’s wondrous joy when Grant first spies a real, live Brachiosaurus. But he seamlessly weaves this infectious awe into serious concerns about the creature’s existence, amplifying the story’s prophetic messaging. Jeff Goldblum may utter the film’s iconic warning, but the duality of Grant’s performance perfectly illustrates the scientific imperative, reminding us that just because we can doesn’t mean we should.
Neill would go on to lead Joe Johnston’s 2001 sequel Jurassic Park III, in which Grant is again tasked with saving a child. In 2022, he would appear in Colin Trevorrow’s legacy sequel Jurassic World Dominion, which merges the franchise’s two distinct eras while bringing the carnage onto mainland shores. Despite turning in strong performances, neither film is able to top the magic of Spielberg’s original or Neill’s captivating performance as the stoic leading man. But his nuanced depiction of Alan Grant inspired a generation of would-be paleontologists and quiet kids who could now see themselves as courageous academics capable of surprising strength.
In the Mouth of Madness (1994)
After catapulting to worldwide fame, Neill returned to horror proper to lead John Carpenter’s mind-bending In the Mouth of Madness. We first meet John Trent (Neill) as he’s dragged, kicking and screaming, into a padded cell. An unknown stretch of time later, he recounts an unbelievable story while covered in protective crosses scrawled into his skin — and the cell’s walls — with black crayon. A private investigator, Trent has been tasked with locating Sutter Cane (Jürgen Prochnow), a world-famous yet elusive genre author whose work has been driving his ravenous readers to disturbing acts of random violence.
A love letter to fans of horror fiction, we delight in watching Trent explore literary easter eggs that lead him down jarring rabbit holes. A late-night road trip takes Trent and Linda Styles (Julie Carmen), an editor for Cane’s publishing house, to a tiny New England hamlet teeming with darkness. While investigating an ominous cathedral on the outskirts of town, Trent realizes that he’s somehow been transported into the author’s interdimensional story and become its unwitting protagonist.
Neill serves as a skeptical everyman and the audience’s conduit through this bizarre tale of literary monsters that find a way to burst through the page. An often overlooked Carpenter film, In the Mouth of Madness spirals into insanity, but Neill keeps us grounded throughout each outlandish twist. A shocking conclusion leaves us gaping at our screens and contemplating our own relationship with horror fiction. After all, does free will truly exist? Or, like Trent, are we merely pawns in someone else’s monstrous creation?
Event Horizon (1997)
One of the scariest movies ever set in space, Paul W.S. Anderson’s Event Horizon builds upon the heroic image Neill established for himself in Jurassic Park. Dr. William Weir (Neill) is a physicist temporarily joining the crew of the Lewis and Clark to assist in their latest rescue mission. Seven years after vanishing without a trace, a spaceship called the Event Horizon has suddenly reappeared near Neptune’s orbit. As the creator of a top-secret gravity drive designed to facilitate faster-than-light travel, Dr. Weir has been sent to explore the ship and find out what happened to its missing crew.
Still haunted by his late wife’s suicide, Dr. Weir is a sympathetic figure, particularly in comparison to the harsh Captain Miller (Laurence Fishburne) who commands the crew of the Lewis and Clark. But Weir’s desperation to return to the infamous ship hides a sinister secret that leads his fellow astronauts to the threshold of hell. Neill’s talent for playing the everyman pays off in spades as the formerly sympathetic widower transforms into a disciple of this frightening dimension. Resembling a long-lost cenobite, Weir claws out his own eyes and prepares to drag the crew into a world consumed with sadistic pain.
Daybreakers (2009)
Neill returns to his Omen roots in Michael and Peter Spierig’s action-packed film as a secretly sinister businessman. But rather than the Antichrist, Charles Bromley (Neill) is a proud vampire convinced of the species’ superiority. With human blood in short supply, Bromley Marks Corp. is working on a synthetic substitute to prevent the human race from impending extinction. While hematologists perfect the formula, Bromley oversees disturbing fields of humans chained to massive machines that systematically harvest their blood.
Neill chills in this sinister role with vampiric yellow eyes, a pale complexion, and subtle fangs. But more upsetting is the fact that he honestly doesn’t believe he’s wrong. Once diagnosed with cancer, Bromley was delighted to find that vampirism would totally reverse his illness and grant him the gift of eternal life. He begged his daughter Alison (Isabel Lucas) to turn alongside him, but she has rejected her father’s controversial choice and is now hunted by his bloodthirsty goons. In a heartbreaking moment of clarity, Bromley brings his daughter to the brink of death, then turns away in disgust when she will not embrace his undead lifestyle.
Daybreakers is a surprisingly thrilling exploration of survival and sustainability. Similar to a plot Damien Thorn would hatch, Bromley’s ultimate plan is to placate the vampire population with synthetic blood while allowing the human population to replenish itself. With a larger stock, he plans to sell authentic humans at a premium, hunting these poor souls to season the meat. Bromley rejects a cure that would reverse the vampiric disease, choosing to enrich himself over saving the world. The strangely captivating villain’s end is a cathartic nightmare and fitting punishment for a wealthy man who places himself above everyone else.
In the Mouth of Madness
While the world may remember Neill for his signature role as a gruff but compassionate paleontologist going head to head with a raging T-Rex, horror fans may picture the versatile actor maniacally rocking back and forth in a filthy Berlin apartment, commanding a boardroom of corporate vampires, disappearing into the darkness of a haunted spaceship, sermonizing to satanists, or giggling over popcorn in a deserted movie theater. Or perhaps you have another favorite role in the beloved actor’s stellar career. But whether he was playing a hero or villain, Neill brought undeniable humanity to every role, redefining our idea of masculinity and the very nature of goodness vs. evil. By bringing such disparate characters to life, Neill challenged audiences with a variety of complex roles, asking us to examine the humanity of each character no matter how flawed or virtuous.
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