Crimes of the Future

The opening sequence of the maestro’s new film, Crimes of the Future shows him in a different, tad mellower frame of mind. That deviation in the mood suffuses the rest of the film as well.

An oddly sweet package, with human connection at its heart.

At once sparse and thematically loaded, it’s the sort of visceral-slash-cerebral provocation that only Cronenberg could—or would—make in the first place. Meet the new flesh, same as the old flesh.

Starring Léa Seydoux, Viggo Mortensen, and Kristen Stewart, Crimes of the Future is funny, serious, and sexy all at once.

Crimes of the Future is a futuristically retro slice of body horror that left me speechless. It is a twisted descent into madness, refusing to coddle its audience or offer up a single happy ending. I wouldn’t have had it any other way.

Fascinatingly strange...

The environmental film subgenre often has better intentions than representatives. Crimes of the future is one of the few honorable examples, and an atypical film in a filmography of cold characters. [Full review in Spanish]

Crimes of the Future is a striking reminder that one of his biggest strengths as a storyteller is probing the human soul.

Crimes of the Future is — at least on a purely thematic level — Cronenberg’s answer to Martin Scorsese’s The Irishman&#59; a film about mortality that he couldn’t have made as a young man.

[David] Cronenberg, who also wrote his own screenplay, may have been conceptually fascinating but his overall execution is strangely dull and hollow.