Rolling Stone by David Fear

This is what the work of a visionary filmmaker looks like. Forget the new flesh. Long live the old Cronenberg.

The Globe and Mail (Toronto) by Barry Hertz

Crimes of the Future is a dirty little thing because it dives deep into the muck of humanity, where Cronenberg finds a perverted pleasure in the absence of pain. Every millimetre of this film is filthy, decayed, polluted. And thank god for that.

Los Angeles Times by Justin Chang

It’s marvelous to have Cronenberg back and to behold his undimmed, unparalleled skill at welding the formulations of horror and science fiction to the cinema of ideas.

Slashfilm by Chris Evangelista

Crimes of the Future is Cronenberg in his comfort zone, which is a zone choked with things both repulsive and fascinating. It's not quite as nasty as its pre-release reputation suggests, nor is it even the most graphic film Cronenberg has directed. But it's rife with the filmmaker's signatures and quirks; his fetishes and his dreams; his obsessions and his amusements.

The New York Times by Manohla Dargis

Despite the morbid laughs and the beatific smile that can light up Saul’s face like that of St. Teresa of Ávila, Crimes of the Future feels like a requiem. Cronenberg has always been a diagnostician of the human condition; here, he also feels a lot like a mortician.

Little White Lies by Sarah Cleary

Cronenberg’s latest feels more like a late-in-the-day course correction than a victory lap. It’s a self reflexive film, yes, but it isn’t self-congratulatory.

ABC News by Peter Travers

Is surgery the new sex? Body horror maestro David Cronenberg and a cast led by Viggo Mortensen, Léa Seydoux and Kristen Stewart tackle that question and more in a futuristic sci-fi shocker that will leave you laughing, squirming and—yikes—thinking.

The Playlist by Charles Bramesco

Just as [Cronenberg’s] characters can live in a suspended state of rot, he can thrive within a world and culture in its death throes. In his reenergized perspectives on degeneration, he’s created one last safe haven for his fellow degenerates.

IndieWire by David Ehrlich

Crimes of the Future is Cronenberg to the core, complete with its fair share of authorial flourishes (the moaning organic bed that its characters sleep in is a five-alarm nightmare unto itself) and slogans (“surgery is the new sex”). At the same time, however, this hazy and weirdly hopeful meditation on the macro-relationship between organic life and synthetic matter ties into his more wholly satisfying gross-out classics because of how it pushes beyond them.

The Film Stage by Rory O'Connor

It’s dazzling and uneven, seductive and flawed, and only [Cronenberg] could have made it. There’s no beating the genuine article.

Variety by Owen Gleiberman

The movie, like so many Cronenberg films, is a gut-twister that is really, just underneath, a painstakingly chewed-over and cerebral experience. It’s an outré nightmare that keeps telling you what to think about what it means.

Screen Daily by Fionnuala Halligan

It’s a piece which is deliberate, but not sterile; disturbing, but too grounded in reality to be truly frightening, even though it probably should be given it attempts to blend the fears of body horror with climate change.

The Guardian by Peter Bradshaw

It’s an extraordinary planet that Cronenberg lands us down on, and insists we remove our helmets before we’re quite sure we can breathe the air.

TheWrap by Alonso Duralde

At his most memorable, Cronenberg creates viscerally unforgettable images that horrify, yes, but they also provoke with big, shocking ideas about our very selves – the monstrousness of disease, the perhaps inevitable hybrid of the corporeal and the mechanical, the determination of the self. With Crimes of the Future, we’re left with a remove from the material, where no matter what happens, it’s all just performance art.

Vanity Fair by Richard Lawson

It’s a movie full of ideas that are never quite unified into a thesis. A bunch of wild imagery and grim hypotheticals about what could become of us may be enough for some viewers. Others, like me, will be left prodding away, trying to locate more meat on all of these ornately assembled bones.

The Hollywood Reporter by David Rooney

The film offers up more mysteries than it solves. Still, riveting work from Viggo Mortensen and Léa Seydoux as performance artists whose canvas is internal organ mutations will draw the curious.

The Telegraph by Robbie Collin

Seydoux gives the film’s best performance: even wrenching moments are played at a glassy remove. But unlike Cronenberg’s Crash, which shook Cannes to the core in 1996, there’s no shock of the new in Crimes of the Future – a crucial requirement for every true festival coup de scandale.