Ke Huy Quan is worried about what's next, even after winning an Oscar.
David Cronenberg turns 80 on March 15, and for 54 of those years, he’s been entertaining audiences as a storyteller, visualist and sometime actor. He’s credited with being one of the inventors of “body horror,” but the organ he’s stimulated the most consistently is his viewers’ minds — with concepts that are hypnotic, frightening, erotic, disturbing, prescient and generally provocative, often at the same time.
This endless fountain of imagination has produced some of the best and most indelible movies of the last five decades — and even when the total package hasn’t endured, there’s almost always an idea or an image that sticks in the mind’s eye, if not lodged itself in the intellectual, artistic or cultural canon.
Having nothing in common with his 2022 film of the same name, the 1970 “Crimes of the Future” is best seen as an early artifact of Cronenberg’s obsessions with flesh and sex. An art-house film developed when he was a student, the director wears nearly every other hat on this project as well, writing, producing, shooting and editing it. For a microbudget production, it looks quite sharp, with the filmmaker showing a keen eye for creative blocking and camera placement.
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