Tag Archives: david cronenberg

Movie review: Crimes of the Future (2022)

27 Saturday Aug 2022

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , ,

For a director considered one of a kind, and creating a unique vision for film with the birth of venereal horror, it seems interesting that David Cronenberg should return to the horror genre having been absent from the scene for 23 years. And yet, his latest entry, Crimes of the Future, (which shares the same title as his 1970 feature, but there the similarity ends) bears all the hallmarks of these earlier films in his canon of work combined with his more recent and psychological ventures. Where Cronenberg built his name through the physical and sensual characteristics of humanity, his other fascination in the metaphysical realm and human psyche has risen to the fore. 

There are familiar themes at play here with the advancements of humanity through biotechnology in this instance, but still the harbouring of infectious disease to remind us of our own frailty. The twist though is that infectious disease has been eradicated and humankind has been left with pushing the boundaries of morality without the risk of harm that can come about through surgical measures. These actions are now considered an art form; Cronenberg’s playground, a balance of art and physical horror with an intellectual bent, firmly in the mix. Confrontation is always at the heart of Cronenberg’s features, his curiosity to look at the way we shift and squirm a prime scrutiny of his work. In the opening scenes Crimes of the Future forces us into the realms of discomfort when a mother smothers her child with a pillow because she believes him to be inhuman.

In the film’s journey, we primarily follow Saul Tenser (Viggo Mortensen), who has an accelerated evolution syndrome, where he can develop new internal organs. This leads him to perform live surgical procedures carried out by his partner Caprice (Lea Seydoux). Much like Max Renn in Videodrome, Tenser is driven by his pursuit of truth and this exploration spirals deeper into a loss of control and a fatal resolution.

Tenser weaves his way through an investigation that sees him employed by a governmental agency to infiltrate a group of radicals. This sees him rub shoulders with the National Organ Registry where Timlin (Kristen Stewart) and Wippet (Don McKellar) work. Timlin is immediately enamoured by Tenser and is sexually drawn to him. 

There’s also Lang (Scott Speedman) who is the father of the afore-mentioned boy killed by his mother. Lang’s story is also a tragic one, driven to investigate his son’s condition that allowed him to consume plastics with no detriment to the human body. 

All these avenues intertwine into one complete examination of the human soul, immersed in a world where the physical is no longer a barrier. With no obstacles in place, what does it mean to be human? A question that continues to guide Cronenberg’s pursuit.

The Prognosis:

Mortality is and always be the vessel of David Cronenberg’s interests, be it through venereal horror, metaphysical horror, or sensual and intellectual obsessions. His latest vehicle is a culmination of them all, and through his uniqueness Cronenberg manages to project potentially his most complete image of himself, but in doing so, some of that identity gets lost in this portrayal. Without the edges; Without the pointy edges of quirkiness; David Cronenberg, much like his own lead characters, Max Renn; Seth Brundle; Beverly and Elliot Mantle, become lost in his pursuits and finds his own personality engulfed into obscurity.  Yet I still find myself drawn by his vision.

  • Saul Muerte

Retrospective: Scanners (1981)

26 Tuesday Jan 2021

Posted by in Movie review, retrospective

≈ Leave a comment

Tags

, , , , ,

It’s been 40 years since David Cronenberg’s visionary tale of telepathy, telekinesis and by now a recurring theme in the Canadian director’s work, espionage surrounded by political and government conspiracies embedded in a deeply psychoanalytical point of view. 

It’s hard to believe that this is Cronenberg’s seventh outing in the director’s chair, having already produced body horror films such as Shivers and Rabid, the latter of which had been reimagined by The Soska Sisters and is well worth your time. Scanners still has that low budget, earth feel to it that is often expected in the first few films in one’s career, and only two years later he would serve up a double hitter in the classics Videodrome and The Dead Zone.

Another theme that is prevalent throughout Cronenberg’s work is that of an uprising, often from an oppressed group or individual, but also that of misguided intentions that lead to their true calling.

In the case of Scanners, we are first introduced to Cameron Vale (Stephen Lack), who is ostracized from society by appearance at first, being a homeless figure trying to survive on the streets, but we quickly learn that he harbours the ability to read people’s minds and inflict pain on those who torment or ridicule him through telekinesis. This ability comes attached to a group in society known as scanners and when he is detected in a shopping mall, he is soon hunted down and subjected to close scrutiny and rehabilitation by Dr. Paul Ruth (Patrick McGoohan). 

Once he conforms to the will of Ruth and with it the Government agency that takes advantage of Ruth’s knowledge, Vale is then charged with hunting down a group of vigilantes led by Revok (Another fine turn from Michael Ironside). Can Revok be controlled? Or is there more to Revok’s revolution than meets the eye?

Scanners can be bookmarked as the film that changed Cronenberg’s career, moving away from the body horror image that had shaped his career at this point, and moving him into the mainstream playing field.
It still has some moments that reflect the style and substance that made Croeneberg’s name on screen, most notably this head explosion scene…

The prognosis:

Scanners does suffer a little in exposition and the lead performance from Stephen Lack, is somewhat stilted which detracts from engaging with the narrative. Whether this is down to the performance of the actor in question or the director’s choice in portrayal is hard to pin down, but it certainly curbs the film from being Cronenberg’s finest moment. It is still an enjoyable ride though and well worth your time to explore a master visionist honing his craft. 

  • Saul Muerte