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.
Conclusion: Cosmopolis is frankly not an easy film to like, let alone love, but it is an extremely easy film to admire. Its cold, dispassionate take on an unlikable character may not be everyone's (or indeed anyone's ) cup of tea, but for those who have the patience to really let this film's hypnotic spell slowly ensnare them, Cosmopolis is unexpectedly rich, a philosophical masterpiece that manages to make a ruthless technocrat somehow impossible to ignore.
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.
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.
Summary: David Cronenberg has long considered “unfilmable” novels a challenge rather than a warning – see Naked Lunch , Crash , Spider . But the impossibility is often not filming the material; it’s dramatising it. More So it proves in this confoundingly slow vehicle for Dom DeLillo’s heady prose. Pattison plays Eric Packer, a tycoon riding his stretch limo across town as his fortunes plummet, anti-capitalism riots swell and Manhattan grinds to a halt around him.