Archive for the ‘Reviews’ Tag

Venice Film Festival: The Childhood of a Leader Reviews   Leave a comment

‘The Childhood of a Leader’ reviews from the world premiere at Venice Film Festival



A striking, impressionistically filmed final sequence set some time in the future doesn’t so much answer these questions as pose new ones. Here Walker’s full orchestral soundtrack rises to a deafening pitch, mixing brass punches and string-section yelps into its driving, jackboot march. In combination with British DoP Lol Crawley’s atmospheric 35mm photography and Corbet’s assured direction of an excellent cast, it makes for an edgy, poetic mix with the dramatic potency of a good nightmare.

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Berlinale: ‘Queen of the Desert’ reviews   Leave a comment

‘Queen of the Desert’ had it’s first official screening at Berlinale and these are some of the reactions to Robert Pattinson’s performance in the film.
Actors Franco Kidman Lewis and director Herzog arrive for screening at 65th Berlinale International Film Festival in Berlin
Please keep in mind that reviews can contain spoilers

The Hollywood Reporter

“The brief but significant appearances of Robert Pattinson as T.E. Lawrence aside…”


“Among the more entertaining interludes is her time spent at an archeological dig with Lawrence. And while Pattinson in Arab headgear takes some getting used to (and drew laughs at the Berlin press screening), the easy camaraderie in his scenes with Kidman is appealing. ”

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Sydney Film Festival – The Rover Reviews   Leave a comment

Here are few The Rover reviews from the Sydney Film Festival


Spotlight Report:

The two main characters juxtapose one another superbly. Whilst Pearce appears to be dead inside, Pattinson’s sweet naivety and loyalty is endearing. He has misplaced hope in a world where there is no place for such luxuries. He plays the role perfectly and flexes acting muscles that have previously lain dormant in the less challenging roles he is known for, capturing the stunning simplicity of his character.

Through Rey, the audience gets an insight into a child of the decay, that has known nothing more than the world he lives in now and yet still has hope and faith perfectly encapsulated by his stating ‘There’s no harm God wants to see me come to’. The audience yearns for the two to develop a friendship and bond, for Rey’s sweetness to break down the hardened exterior of Eric. But it’s to Michôd’s credit that this never transpires as Eric never sees Rey as anything more than a means to an end.

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‘Maps to the Stars’ Cannes Film Festival Press Screening: Reviews & Media Reactions   1 comment


Here are some Maps to the Stars reviews and media reactions of the top critics at the Cannes Film FestivalRE

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Film 4

Maps To The Stars is a film having plenty of fun with the notion of Hollywood dynasties and the processes by which success is achieved and cemented – who knows whom, who’s seeing whom, who hates whom: all the invisible, untraceable connections that bind Hollywood together. The joke is that there is no map to these stars, and without an innate sense of direction you’ll soon be lost. Hollywood is often decried as incestuous, and this film plays that idea to the hilt, with the product of incestuous breeding even more troubled and egotistical than the generation before that.

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‘The Rover’ Cannes Press Screening – Reviews + Media Reactions   3 comments


Here are some reviews and media reactions from the ‘The Rover’ Press Screening this morning


From Variety

Tipping its hat to George Miller’s “Mad Max” trilogy while striking a more somber, introspective tone, Michod’s sophomore feature isn’t exactly something we’ve never seen before, but it has a desolate beauty all its own, and a career-redefining performance by Robert Pattinson that reveals untold depths of sensitivity and feeling in the erstwhile “Twilight” star. A commercial challenge due to its mix of explicit violence, measured pacing and narrative abstractions, the pic should earn the warm embrace of discerning genre fans and further establish Michod as one of the most gifted young directors around. Pearce is fiercely impressive here as a man who gave up on the human race even before the latest round of calamities, and if there are occasional glimpses of the kinder, gentler man he might once have been, we are more frequently privy to his savage survival instincts. But it’s Pattinson who turns out to be the film’s greatest surprise, sporting a convincing Southern accent and bringing an understated dignity to a role that might easily have been milked for cheap sentimental effects. With his slurry drawl and wide-eyed, lap-dog stare, Rey initially suggests a latter-day Lennie Small, but he isn’t so much developmentally disabled as socially regressed — an overprotected mama’s boy suddenly cast to the wolves — and Pattinson never forces or overdoes anything, building up an empathy for the character that’s entirely earned. He becomes an oasis of humanity in this stark, forsaken land.

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Cosmopolis Reviews by Rolling Stone & New York Times   2 comments

From Rolling Stone

If you can get past the psychological density of the source material (Don DeLillo’s 2003 novel) and the tabloid noise around the star, this mesmerizing mind-bender ought to prove two things: (1) Robert Pattinson really can act; (2) Director David Cronenberg never runs from a challenge. Pattinson stars as Eric Packer, a master of the universe at 28 but still helpless to stop his financial world from collapsing as he rides around Manhattan in a white stretch limo. Destination: haircut. That’s it: one day, one limo. But DeLillo crowded that day with incident. And Cronenberg, a master recalling his surreal work on eXistenZ and Naked Lunch, adapts the novel with a poet’s eye and a keen ear for language. Eric has hermetically sealed himself inside a limo designed to block out every trace of the outside world. Inside, Eric can ignore the Occupy Wall Street-like protests from the 99 percent, consult with his geek chief (Jay Baruchel) and his money guru (Emily Hampshire), submit to a prostate exam, have sex with his mistress (Juliette Binoche), and get out for disturbing meetings with his wife (Sarah Gadon) and a disgruntled former employee (Paul Giamatti). Working with gifted cinematographer Peter Suschitzky, Cronenberg creates a crumbling world in microcosm. In this fever dream of a movie, Pattinson is incendiary, notably in a climactic gun scene with the great Giamatti. Cosmopolis, demanding as it is daring, is no easy ride. I mean that as high praise.

Read the NY Times review after the jump

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Posted August 16, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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More Great Cosmopolis Reviews   Leave a comment

Here are even more great Cosmopolis reviews

From DIY 

Following his interesting but relatively conventional thrillers A History Of Violence and Eastern Promises, and the intelligent but alarmingly strait-laced Freud/Jung drama A Dangerous Method, comes a refreshingly bold David Cronenberg film.

The man who brought us The Fly and Videodrome tackles Don DeLillo’s complex novel, not exactly one of the admired author’s most acclaimed works. However, Cronenberg seems to have found himself a new muse in the form of Robert Pattinson.

The British actor is a revelation as 28-year-old billionaire Eric Packer, who goes on an unusual odyssey through a rioting Manhattan, conducting his business in the back of his high-tech limousine. There’s an oddly unsettling futuristic and dystopian feel to Cosmopolis, although its themes are scarily current. As Packer is chauffered across the the city to get a haircut, he keeps an anxious eye on Wall Street, fascinated by his empire’s ruin as the Chinese yuan rises.


It’s hard to imagine another actor making such a remarkable impact as Pattinson. In every single wordy scene, he is incredible, from his subtly twitchy opening frame to the warped sexual tension displayed during his medical exam and how masterfully he utters every challenging line, imbuing them with world-weariness and logic. It’s a breakthrough performance for the Twilight star, who has consistently chosen interesting projects despite his heart-throb status, and Cronenberg’s brave casting has paid off. Pattinson is riveting throughout – there is a maelstrom of fierce intelligence in his financial wunderkind, bubbling under a controlled stoniness. It’s a layered performance, one of the best of the year, that makes the often pretentious and unrelatable theories believable and compelling. Pattinson holds this stagey yet visually memorable film together, even when it unravels unsatisfyingly – he makes the film worth your while. You won’t see another film starring an A-list idol this brave for a long time.


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Posted June 14, 2012 by fastieslowie in Cosmopolis, Robert Pattinson

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More Cosmopolis Reviews   2 comments

We posted a lot of reviews HERE, but here are a few more reviews of Cosmopolis:


“Pattinson is able to convey a whole lot about his Cosmopolis character simply with a curdled sneer and a soul-sick gaze. He’s skilled at delivering the tricky DeLillo dialogue, too, which Cronenberg has preserved in huge swaths for his adaptation.” -Kyle Buchanan,



“Eric Packer (a surprisingly adequate Robert Pattinson), [is] an ambivalent and self-destructive power broker.” -Simon Abrams,


Huffington Post:

“Featuring an ensemble cast built on quick cameos, the film is anchored by a solid, ennui-filled performance by Robert Pattinson, shedding his Twilight skin for something more substantive and reminiscent of Christian Bale in American Pyscho.” -Raffi Asdourian,


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Posted May 27, 2012 by Sim in Cosmopolis, Robert Pattinson

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*Video* Cosmopolis Review by Les In Rocks   2 comments

Here’s a video review by Les in Rocks (in French) about Cosmopolis. We’ll add the translation as soon as we get it.

La première chose qui marque dans ”Cosmopolis”, c’est sa densité. C’est un film dense, très complexe, fouillis, une sorte de gros morceau à avaler qui fait que l’on ne l’apprécie que dans les heures qui suivent la projection.Sachant que David Cronenberg est l’un des 5 plus grands cinéaste au monde, on peut dire que ”Cosmopolis” n’est pas l’un de ses plus grands films, mais que, en revanche à Cannes, c’est l’un des 4 ou 5 grands films qui dominent toutes les compétitions.

Le film est vraiment passionnant pendant la première heure quand il garde comme ça cette esprit totalement abstrait.

L’autre fait seyant du film, c’est Robert Pattinson.

David joue d’une façon très maligne avec le passé de cinéma de ses acteurs. Il joue vraiment avec la personnalité de Juliette Binoche, il joue avec le passé vampirique de Robert Pattinson.

Pour moi c’est d’abord un film de Robert Pattinson.

Ce qui est drôle, c’est qu’il ne joue plus un vampire mais un humain et il est un vampire beaucoup plus inquiétant que dans Twilight. Où l’idée était d’humanisé la figure des vampire.

C’est l’un des grands films formaliste de la compétition avec ”Holy Motors”.

On sent de la lumière chez Cronenberg, du cadre, de la matière même, enfin tout ce qui est dans cette limousine, on a envie de le toucher comme souvent dans les films de Cronenberg. Et il y a vraiment un rapport avec la texture des choses.

Y’a un truc assez génial, c’est qu’à la fin du film de Cronenberg, on demande que font les limousines la nuit quand on ne les conduit pas, et finalement c’est Leo Carax qui a donné la réponse dans son propre film montrant le garage des limousines.
Translation :

The first thing which surprise in” Cosmopolis”, it’s its density. It’s a compact film, a very complex, messy sort of big piece to swallow that make us appreciate it more only a few hours following the screening.

Knowing that David Cronenberg is one of the 5 biggest filmmakers in the world, we can say that ” Cosmopolis” is not one of his greatest films, but, in contrast to Cannes, is the one of 4 or 5 great films that dominates the entire competition.

The film is really exciting during the first hour when he keeps this spirit totally abstract.

The other important point of the film, it’s Robert Pattinson.

David plays with the cinema’s past of his actors in aa very clever way. He really plays with the personality of Juliette Binoche and he plays with the vampire past of Robert Pattinson.

For me it is primarily a film of Robert Pattinson.

The funny thing is that he no longer plays a vampire but a human and in this movie he’s a far more disturbing vampire than in Twilight. Where the idea was humanized figure of the vampire.

This is one of the greatest formalist films of the competition with ”Holy Motors”.

We feel the light in Cronenberg, the surroundings are important, and everything that is in the limo, you want to touch it as often as possible in Cronenberg’s films. And there’s really a connection with the texture of things.

There’s a pretty awesome scene at the end of Cronenberg’s film, we question ourselves where the limousines are at night when you do not drive, and ultimately it is Leo Carax who gave the answer in his own film showing the garage for limousines.

source Transcript and translation thanks to PatStewBoneCT

Cosmopolis Reviews   6 comments

Here are some Cosmopolis reviews

Empire Online:

The stylised nature of the language will limit this film’s appeal, and its self-conscious craziness might also be testing to some (why does the professional barber Eric finally visits cut huge steps in his hair?). And after Water For Elephants it remains to be seen whether Pattinson’s teen following really is willing to follow him anywhere. But Cosmopolis does prove that he has the chops, and he parlays his cult persona beautifully into the spoiled, demanding Packer, a man so controlling and ruthless that only he has the power to ruin himself. Lean and spiky – with his clean white shirt he resembles a groomed Sid Vicious – Pattinson nails a difficult part almost perfectly, recalling those great words of advice from West Side Story: You wanna live in this crazy world? Play it cool.

Read the full review here

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