Reviews
‘Crimes of the Future’ Review – David Cronenberg’s Return to Body Horror Is a Muted, Philosophical Affair
Bloody Disgusting’s Crimes of the Future review is spoiler-free.
“Surgery is the new sex.”
Kristen Stewart‘s Timlin whispers this into the ear of Viggo Mortensen‘s Saul Tenser after witnessing his surgical performance art in David Cronenberg‘s Crimes of the Future. It’s an epiphany for the aroused Timlin. For writer/director Cronenberg, it feels more like an organic evolution, a new appendage sprouted from his fleshy, pulsing, existential body of work. In many ways, the visionary’s return to body horror is an extension of his philosophical fascination with the human body but a far more muted, reflective, and sophisticated affair that comes with age.
Set in a vague future, humans have long adapted to the synthetic environment they created, a world inundated by plastic waste. The human body has evolved and mutated; it no longer feels pain- except for Saul Tenser, a performance artist who refuses to adapt and whose body rebels by producing new non-functional organs regularly. Saul’s become a celebrity artist with partner Caprice (Léa Seydoux), making the surgical removal of these superfluous internal bits an artform. For Saul, transforming his body’s mutations is a means of maintaining control. But the avant-garde performances have attracted many who would use Saul to expose the next stage of human physiology.
There’s a muted quality about Crimes of the Future and a refusal to adhere to a more conventional narrative structure. Threads of Cronenberg’s previous work get woven throughout, with moments and imagery that seem in direct dialogue with other films from his oeuvre. Only this time, the conversation is much more subdued and introspective. The visionary waxes poetic on aging, on transgressive avant-garde art, and attributing meaning to a damaged world of our own making. He does it in an elegant, quiet way through his characters and this almost dystopian world.
It’s a dialogue-heavy feature, with characters often speaking in hushed tones against beige, peeling walls. Howard Shore‘s score is also sparse and subdued, with scenes set to near silence or diegetic sound. There’s a soothing yet engrossing aloofness to Saul’s story and purpose, with no flashiness to its peaks or conclusion. The offbeat humor is dry and subtle, and it’s so very Cronenberg.
There’s a distinct lack of showiness throughout; the set pieces are minimal in design and quantity. It puts the performances at the forefront. Mortensen’s layers peel back ever so slowly, and his sickly Saul often lurks like a strange monk that prefers to crouch in corners. Seydoux imbues Caprice with a stoic possessiveness yet exhibits a profound passion for her art. Stewart is transfixing as the breathy, jittery oddball so completely smitten and turned on by Saul’s surgeries.
Then there’s the body horror. The fetishistic surgeries send the characters into fits of sexual desire; they’re turned on by internal organs and surgical blades penetrating flesh. Caprice kneels in pleasure at the sight of a new gaping gash across Saul’s abdomen, eager to probe his insides with her tongue. The tools reminiscent of Dead Ringers, the tables and chairs from eXistenZ, and the stage at home in the realm of Videodrome unite to mesmerize and repulse.
Crimes of the Future isn’t so interested in plot but rather in pondering over philosophical questions. The worldbuilding is sparse and vague by design, and the pacing is a dreamy lull. Cronenberg returns to body horror with ease but never cuts as deep with his meditations as his characters would. Even while anemic, Cronenberg continues to test the limits of human flesh like no other. His distinct vision, oddball characters, and soft-spoken yet dry sense of humor make this a welcome and deeply engrossing return to form.
Crimes of the Future is available in theaters on June 3, 2022.
The tenth entry in any franchise, let alone horror, is a monumental milestone. What began in 2004 with Saw, a twisty thriller that introduced John “Jigsaw” Kramer as a mastermind trap engineer, quickly gave way to an enduring horror franchise where the traps got gnarlier and the timeline increasingly more convoluted once Jigsaw and favorite apprentice Amanda Young (Shawnee Smith) were lethally removed from the equation. Both are back in Saw X, a milestone sequel that goes back to the franchise’s roots to a deeply satisfying degree.
Saw X, set between Saw and Saw II, introduces John Kramer as he struggles with his terminal cancer diagnosis. Facing months to live, Kramer finds hope from fellow cancer support group member Henry (Michael Beach), whose radical life-saving procedure points him in the direction of elusive Dr. Cecilia Pederson (Synnøve Macody Lund). Dr. Pederson offers reassurances and a coveted spot in her experimental medical program, but it requires a steep price tag and a trip to Mexico City. Desperate to live, Kramer’s willing to pay the price.
But when he realizes there’s something deeply amiss with Dr. Pederson’s program, well, hell hath no fury like Jigsaw scorned.
Paulette Hernandez as Valentina in Saw X. Photo Credit: Alexandro Bolaños Escamilla
Director/Editor Kevin Greutert, who’s been with Saw since the start, knows this franchise well, and it shows. Working from a screenplay by Pete Goldfinger & Josh Stolberg, Greutert takes time to establish the setup, reestablish Kramer’s code of ethics, and introduce the new group of unwitting players. While that means a slower start to the trademark traps than more recent entries, it’s necessary groundwork for the emotional stakes that build to a gratifying payoff later.
The traps seem straightforward at first, but that simplicity lets the gore shine in exhilarating, jaw-dropping ways. Not only does the carnage flow freely, impressively handled by Fractured FX, but it’s bolstered by an impressive cast of newcomers that fearlessly commit to the harrowing acts. While Saw X marks a return to form, this new group of survivors with a palpable determination to live lends a refreshing new angle. That strong will to live is matched by a cunning intelligence in Dr. Pederson, changing the game for Kramer in unexpected ways.
Greutert, Goldfinger & Stolberg approach this tenth entry with a reverence for the franchise’s history while making it accessible for newcomers. Setting it so early in the timeline allows for fan favorites to return, with Bell and Smith picking up as if they’d never left. Bell brings gallows humor that reminds audiences why Jigsaw and his penchant for traps became an instant horror icon in the first place. His engineering skills and strict moral code make him fearsome for enemies, but Bell brings a tender warmth here. Smith’s Amanda feels perfectly in line with where we meet her in Saw II, a fragile former drug addict deeply loyal to Kramer and his quest.
The franchise callbacks don’t end there – stay for a mid-credit scene – but the script ensures no homework is necessary going in.
Saw X. Photo Credit: Alexandro Bolaños Escamilla
The carefully plotted Saw X builds so thrillingly that by the time “Hello Zepp” kicks in, the urge to cheer and holler is overwhelming. The traps are brutal and unrestrained; prepare for a lot of wincing at the screen. But they carry with them an emotional impact on both the characters and the story. The only misstep here is a loose ending for one character that feels more in service of a potential plot continuation. If that means we get to see more of Kramer and Amanda in the future, that’s a small price to pay.
Saw X delivers a franchise high, and that’s no small feat ten installments deep. There’s a comfortable sense of awareness and humor found in a sequel that utilizes its pared-back simplicity to showcase the characters and gore. Whether you’re new to the franchise or a diehard fanatic, Saw X is an easy recommendation this Halloween season. Welcome back, Jigsaw.
Saw X releases in theaters on September 29.
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