David Cronenberg’s new “Crimes of the Future” deals in well-worn tropes, Anthony Lane writes. “It’s almost as if Cronenberg were pitching a contribution to the ‘Alien’ franchise in the 1980s.”
It was in 1970 that David Cronenberg gave us “Crimes of the Future.” Lasting just over an hour, the film contained no conversation. Instead, we were treated to a voice-over from a reedy creep employed by, among other institutes, the House of Skin. “There must evolve a novel sexuality,” he told us, “for a new species of man.” We also heard a symphony of noises: clicks, beeps, and susurrations—a fitting soundtrack to Cronenberg’s subject, which was, as ever, the variety of human disorders.
In fact, Saul is a performance artist, and what is performed upon him, for the delectation of a jaded audience, is surgery. He has a knack, if you can call it that, for cultivating fresh and unprecedented organs inside his body, which his professional partner, Caprice , then plucks like rare blooms.
When you go to see “Miracle,” at Film Forum, take a friend. Not because you’ll need someone to hang on to during the passages of high tension but because, once the movie is over, the two of you should head for the nearest bar, order shots, and ask each other, “What the hell was goingThe writer and director is Bogdan George Apetri, who is an assistant professor at Columbia, though “Miracle” is set wholly in his native Romania—a country about which the characters never cease to complain.
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