„This 1983 shocker by David Cronenberg comes about as close to abandoning a narrative format as a commercial film possibly can […] Never coherent and frequently pretentious, the film remains an audacious attempt to place obsessive personal images before a popular audience–a kind of Kenneth Anger version of Star Wars.“ – Rezension im Chicago Reader, ohne Datumsangabe, abgerufen am 26. November 2011.
Lia M. Hotchkiss: "Still in the Game": Cybertransformations of the "New Flesh" in David Cronenberg's eXistenZ. In: University of Texas Press. Nr.52, 2003, S.15–32, doi:10.1353/vlt.2003.0018 (englisch, jhu.edu [PDF]).
Steven T. Brown: Desiring Machines. Biomechanoid Eros and Other Techno-Fetishes in Tetsuo: The Iron Man and Its Precursors. In: Tokyo Cyberpunk. Palgrave Macmillan, New York 2010, S.534–541, doi:10.1057/9780230110069_3 (englisch).
Lia M. Hotchkiss: "Still in the Game": Cybertransformations of the "New Flesh" in David Cronenberg's eXistenZ. In: University of Texas Press. Nr.52, 2003, S.15–32, doi:10.1353/vlt.2003.0018 (englisch, jhu.edu [PDF]).
„Though Videodrome finally grows grotesque and a little confused, it begins very well and sustains its cleverness for a long while. […] Max is never sure where these visions leave off and reality begins; the viewer won’t find it easy to tell, either. And there are times when it is dangerously unclear, in the midst of Max’s lurid, sadomasochistic fantasies, whether Videodrome is far removed from the kind of sensationalism it seeks to satirize.“ – Rezension in The New York Times vom 4. Februar 1983, abgerufen am 26. November 2011.
