The Fly and Videodrome director DavidCronenberg returns to his body-horror wheelhouse with the shockingly funny CrimesoftheFuture.
If Hell has an Ikea, it’s fully stocked with the designer grotesqueries that pass for furniture in Crimes of the Future. Dangling womb hammocks, the latest advance in bio-mechanical Tempur-Pedic technology, squirm to relieve the discomfort of those slumbering within their folds. A chair, seemingly made from nothing but bone, rather hilariously jerks and fidgets to ease the digestion process of fussy eaters.
“Surgery is the new sex,” someone gushes at Saul after the procedure-performance. It’s one of a few lines in Crimes of the Future that flirt with outright self-parody of Cronenberg-speak, that singular alien language he’s been refining and expanding since the 1970s. The man’s movies can start baffling, overwhelming you with their oddball terminology and taxonomies. By the end, a viewer feels fluent, like an expat learning the native tongue by immersing themselves in it every day.
It’s much easier to admire Crimes of the Future as a wicked art-world satire. For all the outré imagery that provoked walkouts at Cannes last month, Cronenberg isn’t really out to shock here.
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