'This is a blisteringly funny satire of the art world. But Cronenberg has more on his mind than just sending up the 'inner beauty pageant'... The film is mostly concerned with what makes us human, and who gets to decide,' reviews film critic SeanMBurns:
“Long live the new flesh!” cried the characters in David Cronenberg’s “Videodrome” nearly 40 years ago. If you’ve seen it, you’ve certainly never forgotten the vision of James Woods inserting a Betamax tape into an orifice in his abdomen before his hand mutates into a fleshy pistol — the writer-director’s none-too-subtle commentary on the warping of a culture addicted to pornography and violence.
,” Cronenberg borrows the title from his otherwise unrelated 1970 second feature. Set during an unspecified era when human beings no longer suffer pain or infection, “Crimes of the Future” posits a world where self-mutilation has become performance art. Viggo Mortensen stars as Saul Tenser, an artist afflicted with “Advanced Evolution Syndrome,” meaning his body keeps growing additional organs that would appear to serve no purpose.
There’s a lot of impenetrable bureaucratic intrigue that might remind you of the Interzone segments in Cronenberg’s adaptation of William S. Burroughs’ “Naked Lunch.” In fact, you’ll find bits and pieces of a lot of his previous films in this one, which feels at times like a cross between a greatest hits album and a grand summation of conversations Cronenberg has been having with audiences since the 1970s.
Cronenberg’s usual Toronto stomping grounds have been replaced here by Greece, in part because that’s where the film’s financing came from, but I also imagine he couldn’t resist shooting a story about the inevitable end of mankind in the birthplace of the modern world. For all its appalling images and apocalyptic overtones, I found “Crimes of the Future” surprisingly sunny in its outlook.
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