Archive for the ‘Review’ Tag

Great Cosmopolis Review by ‘James’s Film Reviews’   1 comment

From James’s Film Reviews:

But the film really belongs to Robert Pattinson in the central and very difficult role as the, initially at least, extremely unsympathetic role as Eric, driven by a purely superficial, almost megalomaniac sense of greed.

Pattinson’s teen-vampire Twilight days are far behind him. This is a simply a brilliantly nuanced performance, his mesmeric features the epitome of poise, as Eric’s self-assurance erodes away his soul. Surely he’s in win a chance for a nominee for Best Actor in February? Sinewy, measured, calculating and colder than the Arctic Circle, it’s an achievement that Pattinson encompasses all this, while not making him any less captivating at the same time.

There’s really not much to criticize about this experience. What could have so easily been a risky, languid leaden-heavy film, just by its very nature, is, instead both a gripping visual metaphor for our time, and a master-class in artistic prowess. All the flare which is now a customary expectation from Cronenberg is present in an abundance of originality – whether it’s the low-level sterility of the cinematography, or the telling gaps in between dialogue, which often tell the audience more than the characters do.

What makes this truly exceptional however, is the unique quality its premise possesses. I can’t think of a film drama, which executes the form of setting itself almost exclusively in one location, quite so well. Roman Polanski’s brilliant Carnage managed it to acidic comic effect, but the dynamics of that firework-ensemble are entirely differently handled, compared to this, periodically put together concept, whereby different characters enter and exit the limousine in turns. I admire greatly the theatricality which that both demands, and delivers with a certain clinical flourish, somewhat reminiscent of one of my favourite plays, albeit in another time and location – Stephen Daldry’s similarly daring revival of An Inspector Calls. Both projects regardless of their medium, not only astound the eye, but also force us to conduct a moral examination of our hearts and souls, as well as our roles within the greater consciousness.

This is a supremely daring, occasionally violent alert of the senses: (towards the end, there’s a startlingly realistic bullet-through-the-hand shot), and an ending so open (or closed), it’ll play on you for weeks afterwards. Cronenberg continues an eclectic display of skill across a versatile selection of genres.

A haunting, darkly triumphant masterpiece, with a fantastic performance from Pattinson. One of year’s most original pieces of work – as well as one of the most memorably impressive.

5 stars

Read the whole review here | Via

Posted September 8, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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Great Cosmopolis Review by SUMOskinny   2 comments

Here’s a great Cosmopolis review by Sumoskinny

Once in a while, there are moments when you are watching a film where you feel completely uneasy – not so you’re going to throw up or walk out because you feel disgusted or violated, but where the tension just completely overwhelms you so that you’re grasping whatever you can to get over the unsettling feeling. Imagine that feeling for a whole 108 minutes, and that’s probably the best short description I could give you about nerve-wracking mastermind David Cronenberg’s newest movie “Cosmopolis.”

First off, anybody who puts down Robert Pattinson as an actor because of his Edward Cullen vampire history is a hater – straight up. The kid’s got major talent, proving it in “Cosmopolis.” He plays billionaire asset manager Eric Packer, a young sex addict who rides around New York City in his stretch limousine complete with a high-tech office, a hideaway toilet, and more than enough room for casual mid-day procreative endeavors.

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Posted August 31, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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Amazing Cosmopolis Review by Miami   Leave a comment

Here’s a great Cosmopolis  review from Miami.com

Cosmopolis is mostly about the journey, not the destination. In adapting Don LeLillo’s once-ridiculed but now uncannily prescient 2003 novel, director David Cronenberg has kept the premise intact: A 28-year-old billionaire, Eric Packer (Robert Pattinson), takes a limo ride across New York City in search of a haircut. The president happens to be in town that day, so traffic is snarled even more than usual.

What’s eating Eric Packer, and why should we care? These are the wrong questions to ask of Cosmopolis, which is most certainly one of Cronenberg’s “weird” movies, told in unreliable first-person (Crash, Naked Lunch, Spider, eXistenZ) instead of his more accessible, popular pictures (The Fly, A History of Violence, Eastern Promises.) Is there any other esteemed director who would dare make such an aggressively divisive film at this stage of his career? Cronenberg is 69, but he’s still interested in exploring and experimenting with his medium. Every shot in Cosmopolis is precise, every edit exact. The score by Howard Shore, a frequent Cronenberg collaborator, sounds like airbrushed metal and ostentation, but with a coiled threat of menace.

Cosmopolis may be a cerebral mood piece, but it is loaded with strong performances that connect on an emotional level. Samantha Morton does wonders with an enormous monologue warning Eric about the financial icebergs toward which he’s floating: You can’t make sense of anything she’s saying, but you can’t help be transfixed by her. Juliette Binoche pops up for a quick, sweaty cameo as Eric’s art dealer and friend with benefits. Paul Giamatti is a bitter man whose place in society was deemed obsolete by Eric’s brave new world but who now has nothing to do: He’s been relegated to the junk heap, and he’s not happy.

But the movie wouldn’t work without Pattinson, who is in every scene and holds the film together with his portrayal of a magnetic tycoon rotting on the inside — a disillusioned man who, having amassed everything he could possibly want, asks if that’s all there is. This is just one possible reading of Cosmopolis: Viewers with the stamina to make it to the end (discipline is required) may have differing interpretations of the final scene, which is often been true of Cronenberg’s best movies. DeLillo’s book, inspired by the dotcom bubble burst, was critical of how online entrepreneurs had reduced the power of money to an abstract commodity (“What does it mean to spend money? A dollar. A million.”)

 Read the rest of the review here 

Posted August 23, 2012 by fastieslowie in Cosmopolis

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Great Cosmopolis Review By HitFix   Leave a comment

From HitFix

“Cosmopolis” seems to be a perfect fit for Cronenberg, and my experience with the film was complicated a bit by the screening room where I saw it.  There was no air conditioning, and it was mid-afternoon during the recent crazy heat here in LA.  The screening room was completely full, every seat taken, and by the middle of the film, I was so hot I felt like I was slow-motion-fainting.  Awful.  And with a film that’s designed to make you uncomfortable anyway, my first reaction was to recoil.

I walked away blaming the movie, but thinking it over for the last week or so, I can’t get it out of my head.  It’s exquisitely made, carefully controlled, a simmering look into the dead empty eyes of Eric Packer (Robert Pattinson) as Rome burns around him.  Based on a novel by Don DeLillo, it’s all character, all mood, a slow surreal ride through Manhattan during a meltdown that seems to have been caused, in part, by his own hubris, and Pattinson is fascinating in the role.  He seems to constantly be shifting through a complicated but subterranean inner implosion, pieces of himself shutting down at random, little by little.  His stated goal for the day is simple enough.  He wants a haircut.  Never mind that the entire city seems to be on high alert thanks to the visit of a President and construction and protests and traffic and madmen and giant rats and angry wives and dirty lovers, all complications thrown in the path of Packer as he attempts to make his way across this tiny island, locked inside his sterile bubble.

I do not think I’m out of line when I observe that Robert Pattinson is from outer space.  Part of what makes him so compelling in the film is that whatever weirdness Cronenberg throws at him, he rolls with it, staring out of that blank passive face with furious eyes.  People race in and out of his personal orbit.  He gets a physical from a doctor inside the cab at one point, carrying on a conversation while this guy’s got half his arm inside him, and the way Pattinson plays that scene is impressive.  On the whole, Pattinson delivers in this difficult role, and I can’t picture anyone else tuning in more completely to what Cronenberg has done here.

It helps that Pattinson interacts with truly great performances from the supporting cast.  Juliette Binocheshows up to have some sex, drink some booze, and lay some ugly truth on Pattinson’s character.  Sarah Gadon is Packer’s wife, newly married and already looking for a way out, away from this shark-eyed and alien “other” who she has barely gotten to know as a husband.  Jay Baruchel and Kevin Durand both do sharp and specific work in small roles here, and there’s a wonderful but oh-so-short appearance by Samantha Morton as well.  Paul Giamatti almost steals the film in the last ten minutes, and it’s a testament to how good Pattinson is in the film that he stands there and refuses to let Giamatti run away with it.  He gives as good as he gets.  Giamatti is great, giving voice to all the frustration and powerlessness of everyone caught up in these forces at work in the modern world, these soft little boys dressed up in expensive suits, untouchable in their coffins on wheels.  Giamatti is determined to break through the expressionless exterior of Packer to find the soft and vulnerable heart, and once he does, he plans to rip it out.

Read the rest of the review here

Posted August 21, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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Great Cosmopolis Review by The Filmstage   Leave a comment

From The Filmstage

 There are about a million places you could start with this thing.

Oh, hell: “Brilliant.” Cosmopolis is certainly a brilliant film, one filled with all the subtext and qualities we call “cinematic” that you could ask for, but it presents this in a manner so deceptively simple it can only feel like genius. David Cronenberg’s newest effort says inordinate amounts about our society, often, by saying so little, to the point where it feels as though we, the modern audience, are looking into a funhouse mirror only two degrees off from being an exact portrait.

And that’s more terrifying than anything the Canadian auteur has ever put onscreen.

More unsettling, yet, is Cosmopolis’ insistence on what truly constitutes time. Everybody here is moving, everybody is going toward something, everybody is trying to get away from something, yet they’re not reaching anywhere. Cronenberg’s world is one in which time is an inevitable, unstoppable, horrible form of forward momentum which everyone is consumed by with every passing (nano, zepto, centi) second. Whether we’re inhabiting a 20-foot vehicle on the way to a barber or marching in a funeral procession, there’s no real difference; it’s only taking us one step closer toward the end.

Not that you’d get it from the basic “plot,” as it were, in which billionaire Eric Packer (Robert Pattinson) decides he needs a haircut. Nothing about his upper appearance would suggest such work is even necessary — heck, his hair is practically short — but he needs one, and he needs to get it at a specific place. With his loyal guard (Kevin Durand), he sets off into the Manhattan streets; the slow collapse of society is just an obstacle to drive through.

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Posted August 19, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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Great Cosmopolis Review by NSW Law Society Journal – Australia   Leave a comment

Here’s a great Cosmopolis review from the NSW Law Society Journal (Australia)

“Is it coincidence, or something in the zeitgeist? There’s a curiosity in cinema whereby two films release on the same topic at around the same time (for example, in 2005, Capote(Miller) and Infamous(McGrath)). There are many examples. And it’s happened again.

This month two films appeared featuring a protagonist who rides around a big city in a stretch limo over the course of one day, for the full length of the film, interacting with other characters in a series of vignettes. One was Leos Carax’s very strange Holy Motors(with Kylie Minogue), which divided audiences recently at the Cannes Film Festival. The other was David Cronenberg’s latest, Cosmopolis.

Cronenberg not only directed but wrote the screenplay for Cosmopolis, adapting Don DeLillo’s 2003 book of the same name. Cronenberg has been busy lately. A Dangerous Method, about the relationship between Carl Jung and Sigmund Freud, has only just left our cinemas.

DeLillo’s book also divided readers and critics. One critic found it “eerily brilliant”, others considered it a victory of style over substance. The same argument is likely over the film, but I’m on the side of eerie brilliance.

Cronenberg took only six days to adapt the screenplay from the novel, because he found the novel’s dialogue so marvelous. He said he “started typing down all the dialogue from the book on my computer without changing or adding anything. It took me three days. When I was done, I wondered, ‘Is there enough material for a film? I think so’.”

As a result, the dialogue is very literary, not naturalistic. But it is entrancing: more akin to poetry than prose.

It helps that Cronenberg has assembled a fascinating cast to speak this poetic dialogue. First, he recruited teen heartthrob Robert Pattinson, famous for playing a vampire in theTwilight series of films (one every year since 2008, with one more due in 2012). Pattinson plays the lead, 28-year-old billionaire asset manager Eric Packer, who rides across New York in a limo over the course of one day in order to get his hair cut. Pattinson acquits himself very well, handling the arch dialogue with wit and precision.

A passing parade of actors encounters Packer one by one, mostly in the limo but occasionally outside. Among others, there’s his head of security (Kevin Durand), chief of technology (a twitchy Jay Baruchel), a former lover and current art adviser (Juliet Binoche), chief of theory (Samantha Morton, who has the most abstract dialogue to spout), and his obscenely wealthy wife (Sarah Gadon). Packer’s doctor even conducts daily health checks in the limo, examining his prostate while Packer simultaneously discusses the economy of China and flirts with his chief of finance (Emily Hampshire).

As Packer moves slowly across a gridlocked city (the US President is in town), his currency analyst warns him he’s over-exposed to the Chinese yuan. In the book, nine years old now, it was the yen (how global finance has changed since 2003). His chief of security warns him of a credible threat of assassination (of Packer, not the President), and protestors crowd the streets, daubing the limo with paint. Will Packer’s impassive facade crack under such pressure?

The answer comes in the lead-up to his tense confrontation with Paul Giamatti, playing a disgruntled former employee. It’s another brilliant performance from Giamatti, whose search for life’s meaning is the antithesis of Packer’s ruthless detachment.

There are no answers to the global financial crisis here. That’s not so surprising given the book predated the GFC by some years. But that’s also what’s so astonishing. The book has anticipated so much of what transpired in those intervening years – even down to Rupert Murdoch’s pie in the face! And Cronenberg has managed to transform this difficult, wordy, prescient book into a vehicle as sleek and polished as a limousine.”

RP Australia

Posted August 1, 2012 by fastieslowie in Cosmopolis

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Great New Cosmopolis Review by City Connect   2 comments

Here’s great Cosmopolis review by City Connect

The director David Cronenberg has long been known for making films that are about, at their heart, the human body. Many people refer to his films such as Videodrome and Naked Lunch as part of the ‘body horror’ sub-genre. In actuality, Cronenberg is able to raise his films to a much more intellectual level than that.

With Cosmopolis, David Cronenberg marks a change of course. Instead of making a film about the body, his adaptation of the Don DeLillo novel is much more cerebral. Robert Pattinson plays Eric Packer, a billionaire businessman in a slightly futuristic New York City. Packer decides that he needs a haircut, and decides to take a white limo across town to a barber that he and his father have used for years. Along the way he has meetings in the limo with people who work for him, such as his art consultant (Juliette Binoche), his chief advisor (Samantha Morton), and several meetings with his estranged wife (Sarah Gadon). Along the way, Packer finds out that he’s losing money at a staggering rate, while his chief of security (Kevin Durand) informs him that a former employee (Paul Giamatti) has made a threat to kill him.

Considering all this, Cosmopolis moves at a surprisingly slow pace. Characters come and go from the limo (where the majority of the film takes place), after having conversations with Packer that make up scenes that last ten minutes. The final scene in the film when Packer confronts his homicidal ex-employee lasts almost twenty minutes. This is quite a daring thing to do, and should only really be done if the script is particularly superb, which in this case it certainly is. Cronenberg for the most part keeps the awkward and bizarrely crafted dialogue used in DeLillo’s novel. The characters speak in almost Pinter-esque ways, with a strange structure that pretty much strips it of all emotion.

Similarly in a Pinter-esque way, the events that take place outside the limo are almost treated like they don’t exist. At one point when Packer is talking to his chief advisor, the limo is attacked by a crowd rioting on the streets against capitalism. The graffiti and rock the limo from side to side, all the time Packer and his guest continue their conversation like it’s not even happening. The view from Packer’s limo is quite often of a world that looks artificial and manufactured.

Even the characters themselves come across as artificial beings. Robert Pattinson gives the best performance of his career as the mega rich Eric Packer. For want of a better analogy, Pattinson turns Packer into this vamperic character, who doesn’t react to anything that happens around him. He’s completely cut off emotionally, as are the rest of the characters. But in the case of Pattinson’s performance, it is more highlighting the soullessness of people who benefit the most from capitalism.

Herein lies the main point the film tries to make; the dangers of capitalism. Cosmopolis is set in the not so distant future, and considering the riots, and banks and businesses that only benefit the rich, this is rather timely. It is a bleak but still plausible vision of what the world will look like in twenty years’ time, maybe even less than that; a world filled with social uprising while the mega rich drive in their limos completely oblivious to it all.

Many people have criticised the film for not being emotionally engaging, but on the whole it does seem the point of Cronenberg’s film. He doesn’t want you to empathise with Packer, he wants you to see what the world is like around him, and try and figure out how it all connects to his own path of self-destruction. It is a superbly slick and stylish film, with a great cast led by the superb Robert Pattinson, and a truly unique script. Cronenberg tackles the difficult questions about capitalism, and with great intelligence and originality, leaves the audience with just enough room to try and figure out what is going on for themselves. In my opinion, the best film of 2012 so far.

Posted July 13, 2012 by fastieslowie in Cosmopolis

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Great New Cosmopolis Review from Sabotage Times   Leave a comment

Here’s a great new review by Sabotage Times

“Prepare to be surprised” reads the tagline for Cosmopolis, David Cronenberg’s long awaited adaptation of Don DeLillo’s novel, and given the fact that teen idol Robert Pattinson adorns the posters, slumped over in a beast of a limousine, you get the feeling that it’s his performance that we’re being directed towards. He is arguably the biggest star of the moment, thrown from relative obscurity into the blinding light via the Twilight series, and the legion of batshit fans that it has managed to accrue. The worry for Pattinson in becoming so closely associated with one role is that the more popular Twilight becomes, and certainly it’s showing no signs of abating, the harder it will be for him to craft a career for himself when the franchise inevitably comes to a close.

Kudos to him then for taking on Cosmopolis, a dark, challenging, radical change of pace directed by David Cronenberg. I’ll cut right to the chase: The film is an absolute work of art, and Robert Pattinson’s performance is nothing short of stunning.

“I want to get a haircut” young billionaire Eric Packer (Pattinson) demands at the start of the film. “The President is in town, streets will be stripped from the map” his security warns him. Packer doesn’t care. He wants to get a hair-cut, and he wants to get it across town. He’s a billionaire, used to getting what he wants, the world revolves around him and him alone.

So this is the film: Packer driving across town to get his mop-chopped, whilst outside New York is in the middle of a riot against capitalism. On the face of it this could be construed as a fairly cynical attempt at exploiting the zeitgeist, juxtaposing a whole city of unrest with one man’s inconsequential desire, a banker-bashing tract without any real cinematic longevity. This is what I feared it would be. How utterly, utterly wrong I was.

What the film manages to do brilliantly is inject action and a vibrant kineticism into a small space, in this case the limousine in which the majority of the story takes place. Packer sits on his leather throne like a drunken marionette as people enter and exit his vehicle, either to warn him, advise him, protect him, examine his prostate or fuck him, and his reaction is similarly non-plussed whether he’s being told of a threat on his life or whether he’s got Juliette Binoche writhing around his crotch. This is the most important thing to know about Packer as a character, he is completely alienated by the real world around him, instead he deals in abstractions. To him, time is currency. We see him getting excited about septillionths of seconds and wanting to buy a church full of Rothko paintings, but little else.

Despite this, Packer strives to understand the physical, the concrete. He constantly re-affirms his knowledge by repeating the line “I know this”, whilst also spending the film seeking out food and sex, or occasionally extreme self-mutilation in order, seemingly, to experience anything other than the figures which fill his head. The only other film in recent memory which takes a similar stance would be David Fincher’s Fight Club, which simultaneously critiques and positions itself within a capitalist framework, at the same time examining the effect money and corporate enterprises have on masculinity. The script is brilliant at enforcing this point. It reads like the poetry of capitalism, occasionally very funny, occasionally incredibly dense to the point of being completely alienating to the viewer, deliberately so. Not having read DeLillo’s novel I don’t know how much of the script was lifted directly from the source material and how much Cronenberg wrote himself, but certainly the dialogue flows beautifully and with a ferocious rhythm.

Speaking of rhythm, the film’s score, somewhat reminiscent of John Carpenter’s Escape From New York, is phenomenal. If the soundtrack to Drive got everyone excited last year, then this one is just as good. Electric, energetic, tense and overbearing, it lifts some scenes to stratospheric levels, not least the film’s pitch-perfect climax.

Six people walked out of the Cosmopolis screening I attended, presumably they were twi-hards who wanted to see Robert Pattinson be Robert Pattinson, or maybe they wanted something linear and easy to follow. Ignore them and go and see this film, probably the most exciting piece of cinema this century.

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Great Cosmopolis Review from ‘The Independent’   1 comment

From The Independent

David Cronenberg’s Cosmopolis is a very stylish work. It should be, because it’s a film largely about style. Its theme is the heartless, even sociopathic detachment with which today’s hyper-rich lead their hermetically cushioned-in lives. The problem with stories satirising decadence is that what they satirise can end up looking seductive. What’s to stop Cosmopolis becoming as vacantly chic as the world it depicts?

The answer is Cronenberg’s ironic intelligence – although this is so finely tuned that it’s hard to pin down quite how it works. That’s why some of his most provocative films – among them, Crash and eXistenZ, both of them echoed here – are among his most misunderstood.

Cosmopolis courts the same fate. The source is Don DeLillo’s 2003 novel about a young billionaire financier, Eric Packer (Robert Pattinson), who spends a day riding across Manhattan in his state-of-the-art limo. He’s ostensibly after a haircut, but in reality – as his reckless financial speculations threaten to sink both him and the entire global economy – he’s heading for a rendezvous with death, truth, the impenetrable dark beyond his world’s luminous spectacle. He is, you might say, cruising for a transcendental bruising.

Cronenberg hasn’t so much adapted as transcribed the novel: he’s trimmed its incident but left much of DeLillo’s hyper-stylised dialogue. The film records Packer’s progress across town, his car moving with regal slowness because of various obstacles: among them, a presidential cortege, the funeral of a Sufi rapper, an angry demo directed precisely at people like Eric. Occasionally Eric picks up passengers with whom he engages in serious, sometimes abstract discussion. An elegant woman (Juliette Binoche) joins him for businesslike sex – then rolls around coquettishly while discussing the viability of Eric’s prospective art purchases. Hirelings discuss numbers, currency fluctuations, the “microtimed” nature of post-modern knowledge, in the case of Vija Kinsky (Samantha Morton), Eric’s “head of theory”. Another woman (Emily Hampshire) comes on board in time to witness Eric’s daily rectal exam – which makes for a grotesquely comic flirtation, Eric leaning over her like a tortured Francis Bacon nude.

Eric’s ultimate appointment is with Benno Levin (Paul Giamatti), an angry ex-employee who embodies an abandoned pre-digital culture. En route, there are other stops to make, including several dreamily happenstance encounters with Elise (Sarah Gadon), the wife that Eric hardly knows.

Here’s what I mean about style: see Cosmopolis in a cinema with good sound, and listen to the way that Gadon’s silky, incantatory voice is recorded so that it’s like a physical object, filling the space around it. This might seem merely an effect, but it’s intrinsic to the outright difference of this film. Cosmopolis uses sound and silence brilliantly. The limo is a space capsule drifting weightlessly through town, excluding all external noise – which implodes into the car the second its doors open.

The car is at once throne room and coffin, its black leather interior as fetishistically realised as anything in Cronenberg’s car-sex drama Crash (look at Binoche’s stiletto propped post-coitally on the console). Outside, the world’s disorder scrolls frictionlessly by, like a live stream of a pageant happening in another universe.

The limo is Eric’s psyche, which can only remain security-sealed for so long; by and by, the world and his own mortality will get to him. But the car is also a stage for an ambulant chamber drama: this is the most overtly theatrical film Cronenberg has made, a series of heightened two-handers, culminating in the apocalyptic showdown with Giamatti’s Levin.

As for what Cosmopolis says about the current financial abyss, I’m not sure it’s that interested in pursuing the diagnoses of DeLillo’s book. What the film does explore, mesmerisingly, is the riddle of how to turn a book about a limo ride into an experience that is itself a ride – or rather a glide. Such is the film’s out-and-out otherness that Robert Pattinson – who puts up a strong, wryly amused show as the savagely blank Eric – himself becomes a stylistic element among many. This is a surpassingly odd film that some will reject outright, but I was totally won over. Cosmopolis may, like Packer’s limo, be an elaborately conceived but essentially vacant vehicle – yet it has a master at the wheel

Posted June 19, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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Great Cosmopolis Review from LoveFilm “What price a haircut these days?”   2 comments

From LoveFilm

Eric Packer (Robert Pattinson) is not just another Wall Street hotshot, not just another Master of the Universe or Gordon Gekko clone, he’s a cross between Bill Gates, Warren Buffet and Steve Jobs – only younger and better looking.

Packer wants a haircut, and he knows where he wants to get it too. He’ll conduct his business in his limo – it’s an office on wheels, really – and get across New York City if it kills him. Which it might, because the President is in town and there have been threats and menaces. Also there’s a celebrity funeral procession – one of the high priests of rap has died, “natural causes” – so the streets are murder. Packer’s people are not happy. But what Packer wants, Packer gets, you can be sure of that.

Posted June 13, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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