Not the best, but thank Gods, and not the worst film of the beloved director. Knowing the motives of his other works is not difficult. It’s nice that here Cronenberg is again on the familiar path of body-horror (although, of course, more formally and falsely than sincerely, as in the 90s). The unpleasant thing is that the quoted Existence, Car Accident and Nude Lunch are films much more integral, consistent and original. But it is also wrong to call Crimes of the Future a self-citation, because, using the accumulated tools and honed author’s film language, the director (I think) wants to talk in a new way on important topics of aging, artistic courage, the transition of capitalist consumer society to a cultural consumer society.
I reread what I wrote. With clarity of thought, trouble. But it's the same with this movie, so OK.