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But you stick with it. You hope that there will be some big pay off at the end and then you'll think, wow, must watch that again now I know where it's going. Well I'm sorry to say, this is not quite one of those movies. True, it started off with me instantly being bored by it. Maybe five times I nearly gave up, but waited for the big pay off at the end.
But instead, it was just the end. Rarely have I been so happy a movie was over. Considering I'm a David Cronenberg fan, this movie surprised me, it really is awful. It's like your watching some cheap movie made on a cam from someone just out of college. The dialogue is laboured.
It doesn't sound in any way natural and Robert Pattinson seems to be doing his best Christopher Walken impression, but it just doesn't work. I don't usually write a review of films, but sometimes, people just need a warning. This is most definitely a midnight movie. It's a challenging and dense movie, not much of a plot, with the focus on lots of talking and long shots.
A neo noir in looks and feel about corporations, capitalism, the future, rats as currency, and a highly philosophical, self-destructive corporate analyst of some clandestine organization simply called "Complex". From the first shot to the last, you're always following Eric Packer Robert Pattinson in nearly every scene, so everything's seen from his perspective. It's mostly a single-location movie where Eric talks to random dudes related to his company or any woman in his white stretch cyber-pimped limo with an huge protest in the background.
Oh man, it looks awesome and gets messed up over the course of the film. A lot of talking, one- takes, long takes, of people talking about very dense corporate details with not much sense that might go over your head in a first watch. It feels very much based off a play or novel where incredibly verbose characters pontificate about corporations, the world, and time in weirdly absurd conversations. But it's not a film where all those cinematic techniques are evident or shoved into your face, I just happened to notice he had been talking to a sweaty jogger of a mother who's also Eric's chief of finance while he had his prostate examined in his limo for 6 straight minutes.
Eric Packer is a cold, alienated, and highly self-destructive almost- sociopath who goes on about the philosophy of time, corporations, how the world works, violence, and any other topic. His character reminded me heavily of Patrick Bateman Christian Bale in American Psycho, just without all the 90s pop culture and music references. The self-destructive and hedonistic urges of upper class socialites is evident in most Cronenberg movies, and Eric is no different.
The dude's bored with the world, disillusioned, and is a thrill seeker just so he can feel real while he spends most of his time in a purgatory-like limo. He's adamant of making the trek in his white cyber limo eternally stuck in New York traffic over a whole day that goes into night instead of just walking across the street which would only take 5 min. It's almost an absurd comedy at times, like having his prostate examined in his limo by his personal doctor while talking to someone, or he and Benno Paul Giamatti casually shooting up an apartment and at each other with futuristic guns in the weirdest Mexican standoff.
How he's so stubborn about staying in his limo even though some big, distractive "imminent scenario" is about to happen. How funny it is people related to his Complex company just happen to see his limo and jump in for a long convo.
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- The Technical Chill of “Cosmopolis” | The New Yorker.
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Robert Pattinson is a captivating actor to watch, and the camera is transfixed to his face even when it's cream-pied later on thanks to an anarchist protester or "pastry assassin" played by Mathieu Amalric Quantum of Solace, Diving Bell and the Butterfly. This is a challenging role for Pattinson, not really for the character he plays of an upper class corporate man, but how he spars against highly experienced, well-known actors in very long single takes or one-shots. Actors just acting a lot in that stage-y way.
These actors seem to come and go with not much of an arc between their characters except for a couple, as is the case with most of these heavy talking movies more focused on the journey Waking Life, Edmond. It's a bizarre movie, one that will require quite a few re-watches just to get the nuances of the incredibly dense and fast flowing conversations. Also, the rat protesters reminded me of eXistenZ, and the film works almost as a counter-point to that movie where instead of the anarchists, we're on the side of corporate.
I can see some people not liking the movie just because of the pacing and heavy talking nature of it, but being in love with such midnight stage-y movies like Edmond, or talky Richard Linklater films I was not as confused. The verbose conversations can only have been based off a novel.
Samantha Morton as Eric's "Chief of Theory" talks about stuff you won't understand on first watch, and is emblematic of how the film's dialog gives more than you can handle, which is why I can see Cosmopolis being ripe for rewatchability. It's really an absurd comedy and satire at times with a pretty serious and cool ending scene with Paul Giamatti.
People who were expecting Cronenberg's early body horror might be disappointed although there are some choice moments, but the film's definitely in his older speculative techno sci-fi style. Let's say that for every 10 "Twilight" fans, at least one is guaranteed to give "Cosmopolis" a go for no other reason than Robert Pattinson. And among those "Twilight" fans dumb enough to mindlessly try the film out, at least 9 of 10 will despise what they see. David Cronenberg rather faithfully from what I understand adapts Don DeLillo's socio- economic commentary rolled into a film about young billionaire Eric Packer, who goes on a long limo ride across New York City for a haircut.
What he fails to recognize, however, is that he was completely wasting his time; "Cosmopolis" has no business being a movie. Cronenberg's clean and tight approach to the film can't be denied its technical kudos, but everything he films is emotionally anemic.
Not an ounce of this film goes into giving its characters souls, and the more you hunt in search for just a sliver of one, the less attention you pay to the themes so fundamental to the film's core. If you can focus long enough in any given scene, you'll pick up some thought- provoking nuggets, but our natural curiosity as an audience is to look for the story behind the highbrow dialogue. Doing so, however, distracts from paying attention to all that can be praised about this material.
Cosmopolitanism (Stanford Encyclopedia of Philosophy)
Therein lies the reason Cronenberg should have left the novel alone. Ideas like the ones presented in "Cosmopolis" deserve time to simmer. If I had read the book, I certainly would have taken the time to re-read portions of it to process the commentary on capitalism rather than thinking at multiple times throughout the film "oh, there are rats, that's a symbol for what this film is trying to say about capitalism! By the time you can begin to so much as chew on the ideas raised in one of any of the several scenes in which Packer meets with a new character in his limo and talks about big-time stuff, that character is gone from the film completely.
You never get a moment to catch up so that you can be in step with what's going on. Providing further distraction from understanding anything that's said in this movie is how Cronenberg — as he always does — charges this film with sexual and violent tension. He's not adding any that's not already in the story, but he accentuates it. Consequently, moments in the film will yank you out of your perpetual state of philosophical processing and snap you back into the moment of the film, usually a violent outburst or a quick cut to a sex scene. That's part of what makes Cronenberg a revered director, but in this case it's what makes "Cosmopolis" such a tough watch.
For those hoping to see what Pattinson does as a top-billed star given weighty material, "Cosmopolis" proves to be an unfair judge. He seems comfortable with the bizarre style of dialogue, but the character and the story are so empty that the film can hardly be considered a fair judgment of his would-be dramatic prowess. As with any work of art steeped in its ideas, the more you sit with it or re-experience it, the more you're likely to warm up to it, and I have no reason to believe that will not be true of "Cosmopolis.
Visit moviemusereviews. Cronenberg's Cosmopolis is an adaptation of Don DeLillo's novel. The Novel is accepted as unfilmable an as one of the few novels which composes a precise image of our zeitgeist. The movie is not just based on Cronenberg's clever written script that could be a marvellous play for theatres but also a well directed movie with a talented cast and gets the audience into the atmosphere of a Japanese surreal anime. Nonetheless the movie is a marketing mistake of its kind. The negative reviews that emphasis the main actor Robert Pattinson's ex-sanguine performance are not to understand, since he is exactly as vampire as his character Eric Packer, a 28 years old egoist with a lot of money.
However the reason of the box-office flop can be understood. First reason is the difference of target groups: It is possible that neither real Cronenberg fans because of the poster of Pattinson on the foreground nor Pattinson fans since it's not a teenage movie had the intention to see the movie. Second reason is he wrong advertisement: The audience watches an action trailer but finds out it is a Japanese surreal anime. This masterpiece of art proves us that even sci-fi legend David Cronenberg can flop on box-office.
I had avoided watching Cosmopolis because of the unsympathetic reviews it received from critics. Surprisingly, this is a very thought provoking film that delves into the disastrous consequence our society is headed for. First of all, Critics the so called paid ones : Were you actually listening to the dialogues or were you just not paying attention to what was going on?
Did any of the dialogues strike even a remote chord of reflection on , for example, the fact that the firms or companies most people work for actually treat them as worker bees? That actually while we talk and stress on our individuality and unique perspectives are actually forced to follow and sacrifice ourselves to a vision of the more powerful and influential members of the society? Robert Pattinson is a revelation, he has been working very hard in all the movies recently such as The Rover, Maps to the Stars among others.
We are sure to see more of this talented actor as he seems to choose his roles in movies more carefully than his equally if not more talented peer Danielle Radcliffe. The open ended conclusion in the story is bound to leave a few viewers a bit miffed but the whole point of the story is not the conclusion but about smart billionaire's approach to life especially when he feels little empathy or achievement because everything in life was given to him.
This is today's generation who live their lives as if death would never conclude life. If you see closely, you will notice that today's work pressures are created artificially by people like the ones portrayed by RPatz: They are joyless mostly unhappy workaholics who would keep pushing people without having any empathy about what they are going through! All in all, a movie well worth watching more than once, thanks for reading! Let me start by pointing out that I am very far from being a die-hard fan of David Cronenberg's previous works, which in my opinion range from average a history of violence to awful crash Thus, I was skeptical about Cosmopolis at first, and the beginning of the movie did nothing to reassure me : "in medias res" long, intense, fast, and complex dialogs , characters appearing one after the other according to no apparent logic , etc However, I believe this constant overflow of information is deliberately used to make the viewer feel how overly fast, complicated and abstract is the world in which characters such as Packer live in ; moreover, the dialogs are exactly the same as in the Cosmopolis book, so it's definitely not another attempt from our friend David to drown the viewer in useless pseudo- philosophical sentences Besides, as the film goes on, even if the details of the dialogs or the relationships between the characters remain elusive, it becomes gradually more immersive and, while not understanding, one can feel the oppressive atmosphere Eric Packer lives in , the climax being the marvelous face -to-face final scene!
Such an atmosphere could not have been created without the terrific job of Robert Pattinson : miles away from his former teen vampire performance, he was perfectly fit for this role : a young, handsome and bored golden boy, about to let go of the artificial world surrounding him. This movie is, to my mind, about feelings rather than logic. Along the way he conducts business, meets friends, family and acquaintances before being mobbed by anarchists and confronting someone who has malicious intent to harm him.
This film reminded me of a good Shakespearean play; I only understood about half of it but enjoyed it a lot. There are long elongated stretches of duelling dialogue which are spoken in a half alien language of metaphors and double meanings. Much like a Shakespearean play there are odd comic moments and in keeping with Director David Cronenberg's cannon, brief scenes of extreme violence.
These few instances ignited some of the more drawn out and dare I say duller scenes to keep the audience on tenterhooks. Despite these flashes this wont be a film for everyone and a man next to me in an early afternoon screening fell asleep while a couple on the row in front left about half way in. Robert Patz' character reminded me a little of Michael Fassbender's in Shame. Both felt like they were on a path to destruction which they both sort of wanted or at least drew themselves towards. R-Pattinson defies the advice of his security to actively search out trouble and seems to show no emotion in doing so.
In fact there is very little emotion in any scene and the whole cast seem to live in a world of robots. Sarah Gadon plays Robbie-P's wife as an android with almost no movement or signs of feeling. Equally The Robster's bodyguard played by Kevin Durand is focused solely on his employer's safety and shows no signs of living in a world outside of the film. This and also the cinematography lead me to wonder if the film was set inside a dream. It certainly had a dreamlike quality to it. Pattinson is surprisingly excellent in this film, playing a character that is sealed off from the outside world in such a way that he barely notices when it is crumbling in front of him.
Cosmopolis — Volume 1
He has stoicism and magnetism that is rarely matched on film. As I said a couple of paragraphs ago I didn't understand a lot of what was actually going on. There is a lot of financial talk and discussions on a metaphysical level which went over my head.
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None of this stopped me enjoying myself though and I only felt bored once, in a long scene featuring Rob-Patz and Paul Giamatti. The scene was livened up though by a wonderful creeping score which slowing increased in volume as the tension racked up as well as a short sharp burst of violence.
The Technical Chill of “Cosmopolis”
This film definitely won't be for everyone but I do hope hordes of young Twilight fans go and get bitterly disappointed and confused. Personally I thought it was very good but felt perplexed at times. Unlike the source novel the ending is slightly ambiguous which I felt was a good thing. This is a film I'd recommend to hardcore Cronenberg fans and anyone who doesn't mind having to think a little but if you're only interested in Rizzle-Patz cos' he's super hunky then stay away. Just finished watching this and felt I had to say what a great film this is.
Probably not for everybody as I have to admit the first minutes I wasn't sure it was going to work and then Its very stylised and some of the initial scenes dialogue seemed contrived and awkward but after the film hits its stride we were locked to the screen.
It looks like Mr Cronenberg makes films organically watched the extras on the blu-ray afterwards and doesn't believe in rehearsals, which explains why the first scene seemed stilted maybe. As the film progressed the rhythm of the acting and dialogue begins to make more and more sense. Dreamlike, surreal, existential I'm useless at writing i do cgi for a living so i just push pixels around and have lost the power of words The acting by all concerned is phenomenal. Final scene is incredibly powerful, Paul Giamatti blew me away with this performance.
I should just add though that everybodies performance is perfect. Its very rare a film hits me this hard, so glad I bought it and ignored the ridiculously low rating on here