It’s a drama of eight years of silence, of a vision of the end of the line, the end of the world as he knew it. The ideas that Cronenberg puts forth are powerful and poignant his subject is the effort to make art amid a despoiled cultural environment and debased cultural consumption. It’s a movie to have seen rather than to see. In this regard, it’s a classic “late film”-it’s the first feature that Cronenberg, who’s seventy-nine, has made since 2014, and what he has to say here he lays on the line with few of the blandishments of popular movies, and little of the aesthetic care of art-house ones.

“Crimes of the Future” is a thinly conceived dystopian fantasy that offers its characters little psychology and little context, little view of the social order around them or the history that led them there it displays ideas in isolation from their whys and wherefores. “Crimes of the Future” is, for better and worse, a conceptual film it’s less an experience than it is an idea, less a drama of characters’ experiences than an allegory for Cronenberg’s despairingly diagnostic view of present-day crimes, ones that society commits against society.

But the murder, far from unleashing the movie’s tragic power, is, rather, only a symbol or marker of it-a subordinate plot point of little emotional import. The movie’s setting and action are as stylized and abstracted as those of classical tragedy, and, for that matter, “Crimes of the Future” was filmed in Greece. David Cronenberg’s new film, “Crimes of the Future,” is launched by a crime of the past, one that emerges from classical Greek mythology: the murder of a young boy by his mother.

End of world movies youtube