After a breakthrough hit with the science fiction ultraviolence of “ Scanners ,” David Cronenberg ’s last Canadian tax shelter film “Videodrome” dropped with a whimper in 1983, under-served by distributors unnerved by its transgressive images and genre-busting approach. Occupying a space between dystopian apocalypse and queasy body horror, it wasn’t then, and isn’t now, a film easy to categorize....

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