Excerpt: Eric Packer (Robert Pattinson), a young, wealthy futurist CEO at a major corporation spends the day driving through New York City in his limo trying to get to his barber for a haircut, encountering all sorts of colleagues, acquaintances and enemies along the way.
Summary: My vote for Most Surreal Television Moment of 2012 was not Mitt Romney warbling "God Bless America", though it is an image (and sound) I've found hard to shake from my synapses. (I should add that my nomination of Romney's "singing" for this self-created "prize" has absolutely nothing to do with politics and everything to do with musicality, or lack thereof.
Excerpt: David Cronenberg is a weird director. No, I'm not talking about his subject matter (though that is weird), but rather the way he has survived as a filmmaker for four full decades. He hasn't lived in the studio system as comfortably as some of his contemporaries (like Martin Scorsese), nor has he followed the independent-auteur style of someone like Steven Soderbergh who makes a Hollywood film to fund his own projects.
Conclusion: Cosmopolis is not David Cronenberg's best film but it is one of his better more recent entries in his filmography. It can occasionally overwhelm and it's a film that needs to be thought about and probably to be seen more than once to really and truly appreciate, but that's not necessarily a flaw. Not only is the film remarkably well made on a technical level but it's intelligent and thought provoking as well.
Excerpt: It helps to let yourself get lost in David Cronenberg's Cosmopolis , which adapts Don Delillo's novel and clings hard to the inscrutable, arcane language, which very deliberately keeps the audience at arm's length. Of course, our hero Eric Packer (Robert Pattinson) is used to holding the world at arm's length himself, making a fortune in buying and trading money on the kinds of international markets that make the world run by nobody understand.
Excerpt: It's been a good long while since David Cronenberg has indulged his inner freak--he's coming off the (comparatively) staid and disciplined trilogy of A History of Violence , Eastern Promises , and A Dangerous Method --which is reason enough to go into his latest picture, Cosmopolis , with a feeling of giddy anticipation. That feeling lasts about twenty minutes, and then you start checking your watch.
Excerpt: Unless pulled off perfectly—which isn’t easy to do—rear projection gives scenes a slightly unreal quality, whether it’s meant to or not. That’s never more apparent than in films that use the effect for driving sequences, where the action outside the car usually looks slightly, or often not-so-slightly, out of sync with the world inside the vehicle.