26 - they/them - cecilcore
greatest living scholar of spongebob, death stranding, and ass
Cronenberg's classic work used external body horror to signify the internal...gradually evolving into Dead Ringers's notable shift to internal as internal...followed up by decades of outright abstraction: matters of the soul, evils unseen...violence to the body as corruptive, annihilating force (A History of Violence)...capital as internal violence (Cosmopolis)...full-on systemic violence (Map to the Stars), etc etc etc
Crimes of the Future is not so much another development in this evolution as it is a hodgepodge of various eras...drawing from past…
builds on the first, higher stakes, more depth etc etc etc
but what's interesting to me is that for like a decade or so this was considered THE comic book movie, like, every list or discussion fluctuated between Spider-Man 2 and X2 for the top spot...even when Dark Knight dropped it remained in the top 3, top 5 minimum
it's only in recent years that its uniquity has completely fizzled out...which i guess marks far how away from this era…
undeniably mid, but extra points for going 2003 as fuck...in particular i would argue the "Bring Me to Life" drop is one of the most important moments in 21st century popular music. type of film that makes me wanna yell at my mom, chug a red bull, and stay up past 12 listening to puddle of mudd or whatever
Hasn't he been through enough?
There's a feeling of futility to writing negatively about a film that seems to, for better or worse, have captured the public's attention to such a degree that praise is ecstatic and virtually unanimous. Especially so when the broad strokes of your issues with it are more so a reflection of industry trends that are by now well-established and moving with an urgency in one direction than anything specific to the film itself.
If Holy Motors was Carax's tribute to the human body in motion and early cinema's limitation to the contained scene, Annette is his exploration of the film industry's mid-20th century foundational canon of romance films and, of course, musicals, and where we are now as the 21st century moves forward but popular media remains bound to the past, content to wrap old ideas in new clothing.
The film's opening lines, taken from the…