#crimes of the future 2022

[bodyhorrorbeatdown]

Body Horror Beatdown, Match 18, Round 1

Vote for your favorite:

Propaganda under the cut.

Alien

In space, no one can hear you scream.

"Okay so, for starters it’s famous for one of the scariest body horror scenes in the history of film (also one of the earliest REALLY SCARY REALLY GORY ONES) where you see the xenomorph pop out of the guy’s chest, from then on things just get worse even if it’s a slower kind of dread, you get to see the alien in all of its glory and witness the murders of the crew members in sometimes gruesome sometimes off-screen up-to-the-imagination types of ways. I guess the freakiest part though is the idea that you can be inhabited by one of those creatures and there’s nothing you can do to stop it from literally tearing you apart from the inside out, unless you die"

Crimes of the Future

Surgery is the new sex.

"listen you KNOW cronenberg is the master of body horror shit and crimes of the future fucks so unbelievably hard. it's about surgery it's about sex it's about the sensuality of the flesh it's about our relationship to technology and the government. please vote the sexy surgery movie. for me"

[fredbydawn]

Crimes of the Future (1970) dir. David Cronenberg

Crimes of the Future (2022) dir. David Cronenberg

[glyphsmash]

[twenty-words-or-less]

Top 5 Worst Films of 2022

Okay, so. Here we go. At the end of January... my personal summary of the year. This shit is surprisingly difficult. A Best list will also be done, but I thought I'd start with the negative first so as to not end the year on a sour note.

I would like to emphasise that these are my opinions, and if you disagree... fight me in the inbox. Okay. Here we go. And yeah, it's going to be long.

5. The Invitation

Despite the beautiful costumes and decent performances, this nominally January horror fell flat with its mundanity, half-arsed references to Dracula (of course), and compensation for the 15 rating. Sophie Corneliusson is having a whale of a time, though.

4. Firestarter

Not terrible, but not good, either. Some lines felt they were written by a completely different person, and a great deal of promise was shat on and binned. Left feeling nothing. No wonder it bombed.

3. Crimes of the Future

A VERY controversial choice, I know, but I was really looking forward to this one, and the final product was a letdown. The worldbuilding is really well-developed and Kristen Stewart is pretty good, but unfortunately, I couldn't get past the wanky dialogue and the apparent lack of plot (and point) until the end. Disappointing.

2. Fruits Basket: Prelude

Maybe it's because I watched it drunk but I didn't understand what the fuck was going on at any given time. Completely inaccessible for those who hadn't seen the TV show. Completely frustrating watch. Again, really pretty to look at.

Honourable Mentions

Morbius: I don't think I need to elaborate on this. Also I will glue Lego to the feet of anyone who quotes any meme from this film. And I do mean anyone.

The Next 365 Days (Kolejne 365 dni): I want to sit down with the script translator and whoever organised the soundtrack and ask them "why?". Just "why?". They can answer in Polish, I'll just Google Translate their answers like they Google Translated the script and then play an on-the-nose song as I do so.

The 355: Eh.

Luckiest Girl Alive: Terrible characters, terrible handling of themes. Hope someone hired a chiropractor for Mila Kunis - she must have been in agony after carrying this film.

And now, the worst thing I saw this year...

1. Jurassic World: Dominion

Films are meant to be one cohesive project wherein scenes are joined together to build a story. A film should be as long as the story naturally goes. If there are any legacy characters, they should be used to enhance a story, and not be a crutch for it. The existence of a sequel should be justified; a second sequel should definitely need more explanation as to its existence. In a second sequel, existing characters should be actual characters and not just stock photos of tropes. A filmmaker whose career spans twenty years should have this drilled into his head. Dominion is a two and a half hour display of this not being the case at all. Trevorrow, put the cameras down, take your money, and slip away into the night before you can embarrass yourself any further. You're done, and you've taken the franchise with you.

Thanks for reading! Best Of post coming soon.

~ Mikey

[ihearttseliot]

[sam-rothstein]

new banner maybe ???

for reference [font]

[avatar-state-kate]

Well the film is taking a lot from film noir, with the government police unit investigation going on - the secret meetings and the mystery format of the plot, even the title having crime in it is all very noir. The setting of the dilapidated buildings is also very in line with noir, especially films like the Third Man which are set in the post WW2 ruins of Vienna. 

It is actually a very sci-fi thing to take inspiration from noir, just look at the original Blade Runner film from the 80s (and even the novel its based on “Do Androids Dream of Electric Sheep”) - detectives and mystery are often employed within sci-fi, and Blade Runner is often credited as one of the first neo-noir films. It is also credited with establishing cyber punk aesthetics in film - that these two film aesthetics have the same origin goes to show how linked noirs/detective stories, and sci-fi are.

However I wouldn’t call it just a stylistic choice, because i think just like with classic noir the aesthetic choice is meant to reflect the themes of the film. The movies plot has a lot to do with government suppression of people, with the plastic eater activists, as well as of art with most of these art shows needing to be underground. The deterioration of the city can be seen as reflecting the deterioration of society - or even humanity as the human race is changing due to the forces of evolution outside of its control, may humans evolve into a new species entirely ending humanity itself? 

In classic noir the seedy city was not just a reflection of society but also of the moral ambiguity of the leading male character. As audience members of our protagonists theatre of vivisection we need to question if the guise of art justifies the mutilation we are witnessing. When is it okay? When he operates on himself? When does he cross the line, where is the line? 

To the guy behind me in the theatre at the new David Cronenberg movie who said “...what” when the film ended, please come find me so I can explain the films use of Marshal McLuhan’s theories on technology as extensions of the body, how cronenberg turns smart tech into organic machines, the illusions to the 1800 theatres of vivisection and public autopsy as performance art, how modern tech has made us feel disconnected from our own bodies through the people of the future developing an inability to feel pain, that evolution is a force of fate and that we are one day going to catch up to the world we created- that it will shape us in ways we cannot control and we may not like, that the state will try to control it,

And also a lot of pretty graphic body horror

[filmap]

Crimes of the Future David Cronenberg. 2022

Shipwreck Elefsina, Gulf of Eleusis, Greece See in map

See in imdb

[365filmsbyauroranocte]

Crimes of the Future (David Cronenberg, 2022)  

[ksd3us]

Kristen Stewart at Cannes 2022

[cannibalspicnic]

Hey, we saw you from across the organ removal cabaret and really dig your vibe

[emperornero]

she cronen on my berg till my body experiences horror

[secretcircuit]

loved crimes of the future, such a weird world & interesting characters, rly fucked up etc etc. not a glove in sight in any of those operations lmao... could have had more lesbian sex imho? it was definitely implied. but like. anyway more cronenberg ahead, onwards and upwards, if anybody has recs lmk

[ihearttseliot]

[filmbook21]

[curatorofthisdigitalmorass]

Crimes of the Future (2022)