Between the more feminist offerings coming out of Europe like Titane and Hatching, and heir to the throne Brandon Cronenberg’s Possessor, it makes a lot of sense that King David would choose now to return to the genre that iconified him. While his recent run of more conventional, if cerebral, dramas has certainly produced some winners (A Dangerous Method took a second viewing for me to fully appreciate it, but appreciate it I do), there really is no replacing the kind of fleshy, practical effects-driven insanity he used to specialise in. As those aforementioned films have shown, there's certainly still a market for it. And even though this is the product of a script David wrote back in 2003, it’s only ‘dated’ in the sense that he is indeed returning to his glory days. His unsettling, gross, endlessly fascinating glory days.
