thought i'd kick off the year with the best movie ever made - frigid romance and static action. such a terrible joy.
did you come?
no.
Reviews tagged ‘david-cronenberg’ by Kay Pro
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Dead Ringers 1988
a frenzied phenomenology. the city glow of high-modernist buildings giving way to a novel surgical philosophy (see: crimes of the future): structural lobotomy; banal reattachment; medical fantasia. cronenberg's men of medicine are pathetic idealists armed with deadly weapons and false self-fulfillment prophecies to carry out - his vision of sociobiological science in north america is one of fluorescent hell and disaffected misogyny.
about the makers and breakers of the bodily image - who gave Them the authority?
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A Dangerous Method 2011
viggo mortensen huffing out a metric ton of cigar smoke is perhaps the greatest event of the 21st century
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Crash 1996
ghostly afterimages of pure spontaneity regurgitated; reenacted; chewed up and spat back out as an oddball artifact of a particular time and place. cronenberg strikes his most fascinating contrast(s) herein - the utterly feral and necessarily imperfect acts of sex and car-crashing are given their fluorescently sterile and grossly optimized siblings, therefore giving way to an examination of the artifice (and sickness) inherent within the pseudo-art of re-creation. a steel-bound nightmare, living in an unholy somewhere between restrained and unleashed.
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Crimes of the Future 2022
The space between organs and flesh where the cosmos lie. Perhaps simultaneously Cronenberg's most cerebral and impassioned work to date; the film does not attempt to redefine the body nor its purpose(s) because that would constitute an absolute rigidity rather than the malleability that Cronenberg's love letter herein is addressed to. Crimes of the Future should not be understood as a reconfiguration of what has been previously established (the body) but instead as an ode to the body and its vast…
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Crimes of the Future 2022
The Body Beautiful. Cronenberg's loving and genuine ode to the miracle of adaptive malleability; his lingering gaze upon human anatomy reveals the reactive reconfiguration of the body in conjunction with the ever-fluctuating world it's made to interact with.
The environment Cronenberg presents us with is one whose lifeblood is predicated upon its own perpetual (re)generation of artificial scarcity. The world is almost entirely absent of pain, ergo pain is made a product. Pain is no longer the once-known spontaneous occurrence…
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Cosmopolis 2012
cronenbinge #8
in which the previously carnal (primal; impactful; spontaneous) is made transactional (sterile; clinical; cold). but when that sterility transcends the receptacle-esque banality of the philosophy (in the loosest sense of the word) it was meant to be held in, it apparently makes for a suffocatingly dull affair. a tad too boring + artificial for my taste, even if that's the point
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The Dead Zone 1983
cronenbinge #6
irreparably marred by king's miserably didactic, beelining, rushed text but hear me out: christopher walken
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M. Butterfly 1993
Cronenbinge #4
Defers gender – as an abstracted notion – in a measure of tenacity relative to its pacing (sluggish), largely within its barely-existent pseudosubtext. This is most obviously exemplified with the unsubtle omission of “Madame” from the title, opting for a degendered “M.” in its place. Such efforts to subvert a story so set in stone feel rather futile in practice; it all sort of falls on deaf ears until the film's last act in which the alleged subversion…