David Cronenberg. Stephen King. Christopher Walken. You need no other excuse to check out this movie other than the fact that it’s the one and only time that those three names shared credit space at the opening of a film; and at a time when they were all creatively at the top of their game as director, writer and actor respectively. The Dead Zone is based on King’s successful novel of the same name, adapted for the screen by Jeffrey Boam (with a polish by David Cronenberg) and stars Christopher Walken at a time just before he became the "go-to" eccentric character actor in just about everything.

Walken plays Johnny Smith, a content school teacher who has a passion for his job, the admiration of his students and is engaged to the love of his life. But one fateful night, he’s involved in a terrible car accident that puts him in a coma. When he awakens, six years have passed, his limbs have suffered from atrophy, his job is gone and his fiance is now married to another man and a mother to a child that isn’t his. But he’s also awoken from his deep slumber with an unlikely gift; the gift of second sight. One mere touch and he’s able to not only see your past and present, but also see your future.

Let’s revisit the early 1980s. Picture yourself removed from all forms of technology that are now so familiar and seem to endlessly grow. We’re talking Internet, texting, Blu-ray, and even modern day cable television. Now imagine that satellite television is the most exciting concept. Let’s also imagine the thrill of recording and watching something on videocassette. Supposing you are one of the privileged few who has access to this technology, what would you choose to watch? Remember, you’re now able, for the first time, to pull video feed from anywhere with this satellite into your home. How much would you want to devour with your own eyes and in what ways might it change the way you live?

I have something I want you to watch. Its name is Videodrome. Directed and written by David Cronenberg, it is a film with a philosophy about a mind-altering pseudo-program that has a philosophy of its own. James Woods plays Max Renn—the president of a small cable television channel that presents exclusive and mostly erotic content. His idea is simple: allow people to manifest their desires at home and, as a result, keep it off the streets. While working with his assistant he comes across segments of a pirated television show called Videodrome. In short, Videodrome is a near primitive display of unlucky souls who are tortured and/or raped, never to return onscreen. The simplicity and terror of the program is unlike anything he’s ever seen. He wants to share this vision with his viewers, thus beginning a quest to find its source.

Tom Stall is a peaceful diner owner living in a small town with his wife and children until one day a group of dangerous men show up, unwinding a mystery.

Based on a graphic novel by John Wagner and Vincent Locke, Josh Olson’s subtle screenplay is taut, raw and engrossing. Because the subject matter is so dark and without a hint of the supernatural, it would be hard to tell it came from a comic book. But all in all, it is one of the best adaptations from the medium to hit the big screen so far.

David Cronenberg, mainly known for making surreal work like Dead Ringers and Naked Lunch, delivers one of the best and most original crime tales of this decade. He directs the film with such creepiness and dread that it will stick with you long after it’s over. Cronenberg captures perfectly both ideal Americana and its underbelly with equal truth and originality. Since it pertains to the film’s themes, it should be mentioned how brutally raw and unflinchingly honest the violence is.

Eastern Promises is a film that stars an American playing a Russian thug, a Frenchman playing a Russian Enforcer and an Australian playing a British midwife. This is something that I feel only David Cronenberg could pull off.

In recent years, Cronenberg has gone away from his far out sexual fantasies and strange characters involving very strange situations to something a little more straight forward. To say that doesn’t mean that that is a bad thing. With this new, more conventional approach to storytelling, Cronenberg and his cast shine in this tale of crime, betrayal and search for the truth.

After assisting in the birth of a baby born to a 14 year old Ukrainian prostitute, a British Midwife (Watts) discovers a diary belonging to the girl that could unlock dangerous secrets that could potentially cause great harm not only to herself but to those around her.