Who ever said that Cronenberg was going soft? This is the follow up to Spider, which I consider to be one of his greatest accomplishments of all time. History is just as good, but in different ways. I’ve read the original source material (minus the last book) and, although slightly different, it comes highly recommended.

Some people seem to think that Cronenberg has taken a turn for the worse, now that his “body horror” stigma has finally been shaken loose, and, if you’re one of those people, then you’re missing the point entirely. The theme of body horror runs strongly with the theme of change, and that’s what Cronenberg’s films are all about; everyone one of them. Viggo Mortensen’s change may not be as physical and grotesque as Goldblum’s The Fly or James Woods’ vaginal-stomach compartment, but mentally he has. One can see t his clearly just by looking at the film’s poster. We see half of Viggo’s face, while the other half is covered by a gun. On one side we see the familiar face of this family man, yet the other half s covered by a violent instrument.

And it doesn’t stop there. Cronenberg uses his taste for grotesqueness to create one of the most powerful anti-violence films of all time. Through images of a shattered jaw and a broken nose even the most desensitized of people will flinch. This film runs with a Darwinian theme attached to it as well, and it shows. The son is being bullied in school and it isn’t until he knocks the living crap out of his bully does he finally get left alone. Same thing goes for Viggo: these people are going to keep haunting him until he himself climbs his way to the top and shows them who’s boss. It’s survival of the fittest.

Cronenberg’s boys are all here: we have Ronald Sanders fusing the scenes seamlessly together, Howard Shore creating another unforgettable score and Peter Suschitzky photographing it all. The acting is top notch, and Maria Bello particularly stands out.

It’s tough to decide if I like History of Violence or Eastern Promises better, so instead of choosing one I’m just not going to answer that question. Thematically, however, this stands out as Cronenberg’s contemporary masterpiece.