Crimes of the Future

Crimes of the Future ★★½

Out of all the choices I make today, eating during this film will probably be the worst. 

Crimes of the Future, believe it or not, is my first step into David Cronenberg’s filmography and as of that it’s one that was a really weird place to start. Cronenberg’s use of Mortensen’s body as the primary vehicle is skin-crawling. Building the world out from and around the removal of newly grown and newly discovered organs that grow inside of Mortensen’s Saul is at times both awe inspiring and strange, crating an experience that’s squeamish and vile yet one you also can’t look away from. It’s a strange dive into a grim future with Viggo Mortensen and Léa Seydoux giving two standout performances. 

However it’s hard not to think this all feels fetishised. Like Cronenberg had a wet dream and thought he’d turn it into a movie. It’s shocking, gross and disgusting in parts and while that’s what he was ultimately gunning for, personally, body horror has never been something I’ve enjoyed and thus while on a technical level Crimes of the Future may be near perfect, on a more personal level it’s not one I gained any enjoyment out of nor liked for the vast majority with it ultimately leaving me exhausted by it’s imaginary and drained by its conclusion. 

It’s a movie full of ideas that are never quite fulfilled with a bunch of wild, grim imagery intended to shock the viewer that are never fully needed. It’s undoubtable that the concept is a great one and the performances stand out, yet Crimes of the Future is a film I’ll never go back to. A body horror snoozefest that’s as tedious as it is intriguing. The next phase of human evolution better not be this. 
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