Cosmopolis | Film Review


Canadian director David Cronenberg is still perhaps best known for his extreme horror cinema of the 1980’s such as Scanners, Videodrome and The Fly where the line between graphic body horror and examinations of his characters psychology. In recent years the psychological aspects of his work have come more to the fore and some may say it appears more conventional, most notably his recent works with Viggo Mortensen. Now he unites with young superstar Robert Pattinson for an adaptation of Don Delillo’s 2003 novel Cosmopolis. Expectations are high not just for the auteur’s new work but also but many are keen to see if Pattinson has the acting chops to pull of such an awaited film in the critical community. Cosmopolis certainly cannot be described as conventional but there may not be a lot of overly positive things to say about it…

Pattinson plays Eric Packer, a 28 year old financier working for ‘The Complex’ with millions at his disposal and divorced from society, who decides on a whim to travel across New York City, in his hi-tech, sound proof stretch limousine for a haircut. His security officer warns him that the arrival of the President, resultant crowds of protesters and a possible threat against his life make such a journey a potential hazard. Packer is resolute on his decision and what sounds like a simple journey spirals into a surreal odyssey as he cruises through an urban landscape populated by angst ridden colleagues, his distant wife, financial doomsayers, revolutionary protesters and a cream pie wielding anarchist. No, really.

Cronenberg’s direction is astonishingly precise to the point of extreme alienation. Taking place almost entirely within Packer’s science fiction like limo, his camera rarely has room to manoeuvre and instead we slowly glide across the cold, metallic surfaces that constitute this character’s life. CGI backstreet projection in these scenes creates a heightened sense of artificiality that mirrors Packer’s attitude to life. There are echoes of American Psycho in the fetishist style the camera roves over his material wealth. When we venture outside the limo hired from tampa charter buses, there is still an achingly claustrophobic feel to the urban environment. It’s a director at the height of their technical skills and yet it is in the cold, distant approach that Cronenberg observes the drama is that Cosmopolis makes its major stumble; the lack of emotional and visceral connection.

It is the dialogue that drives Cosmopolis, adapted by Cronenberg himself. Practically every scene is dialogue driven with characters spieling into lengthy, philosophical monologues about the world of finance, yuppie culture and in some circumstances whatever seems to come into their heads (‘Why do they call them airports?’). These lines are delivered with a very precise rhythm and arcane structure that very quickly becomes impenetrable despite occasional flashes of brilliance. There is little fault in the performance. Robert Pattinson could be blamed of making a very deliberate attempt to distance himself from the Twilight crowd, but his performance itself is fine. The camera is clearly drawn to his handsome features, he has cold and detached down to a tee and even performs gamely in a wince inducing medical examination scene, which closely recalls the director’s back catalogue of body horror. However Packer is such an empty ‘vessel’ that it’s impossible to drum up any sympathy at all for him. Where is he going? What does he want? What does he think? Questions are constantly answered but rarely answered. At one point he is directly quoted St Augustine; ‘I have become an enigma to myself, and therein lies my sickness.’ The problem is that the enigma never reveals itself and the sickness is never understood. It all becomes lost as he ventures from one bizarre set piece to another. I truly don’t think the problem is with Pattinson’s performance but rather through Cronenberg’s writing and direction of him.

The supporting cast are left to fare little better. Juliette Binoche and Samantha Morton pop up briefly into the limo to discuss Packer’s situation yet are not afforded rounded characters to flesh out. Sarah Gadon is alluring as Packer’s distant wife yet again there is such a sense of distance between them that it seems like their relationship is taking place on either side of a massive piece of perplex. You could argue that it’s the point yet no empathy still results in no emotional connection. Thankfully Mathieu Amalric is bursting at the seams with dangerous glee as a seemingly demented celebrity anarchist whilst the great Paul Giamatti very nearly steals the whole show as a disgruntled former employee of ‘The Complex’ who harbours an obsessive grudge against Packer. His ranting speech towards the end of the film makes him the closest thing to a recognisable human being we can see with the final shot and lines of dialogue hinting at how Cosmopolis could have been a devastating account of our contemporary attitude to material wealth and the Wall Street elite. Unfortunately it’s too little too late.

Cosmopolis is not terrible by any standard, but given the subject matter and the calibre of talent it can’t help but rank as a major disappointment and one of Cronenberg’s least satisfying films. Pattinson may have proved he has the chops but he’s going to need to find something more resolute to prove to everyone he is the real deal after all.

A Dangerous Method | Film Review

This film about the birth of psychoanalysis is a triumph. An intelligent and though-provoking film with wonderful performances by Michael Fassbender, Viggo Mortensen and Keira Knightley. Fassbender plays Jung when he was 29 and just married to a wealthy women called Emma. He was working at a hospital in Zurich in 1904 when he met Sabina Spielrein, an 18-year-old Russian Jew who is admitted in a deeply distressed condition.

Jung is attracted and fascinated by Sabina and after Freud sends him Otto Gross, (Vincent Cassel), as a patient, Jung comes under his influence and enters into an unprofessional relationship with Sabina. Gross was himself a psychiatrist in his 20s and suffered from dementia praecox (as schizophrenia was then known).

Jung cures Sabina with the “talking cure”, or psychoanalysis, then being used in Vienna by the 48-year-old Sigmund Freud (Viggo Mortensen), a well-established but highly controversial figure.

Sigmund Freud thought of Carl Jung as his natural heir, but relationships between the two men became strained.

This film is a very good historical film from David Cronenberg. I believe this film is the best Cronenberg has ever made.

Freud sees himself as the father that Jung wishes to destroy. Jung believes that psychoanalysis may save the world.

As the film ends Jung tells Sabina about dreams of the apocalypse. This film ends just before the first world war so Jung was accurate about an apocalypse. The legacy of Freud and Jung is evident in the film. They still affect not only psychoanalysis but our everyday lives. Sabina becomes a celebrated psychologist in the Soviet Union, but, sadly, becomes an early victim of the holocaust along with her two daughters.

A Dangerous Method is available on DVD and Digital Download from June 25th.

Robert Pattinson; ‘I don’t mind getting naked’.

Robert Pattinson has told The Sun that he does not mind getting naked and stated that it is ‘more difficult for actresses’.

In an interview that should delight his many female fans the 26-year-old Twilight star says; “I don’t really have a problem with those scenes or nudity in general. I think it’s more complicated for actresses who are worried about how those scenes can be exploited by the media and how naked photos are constantly getting posted on the internet.”

Pattinson was talking about his role in Cosmopolis. The film is directed by David Cronenberg.

He says: “The sex scenes with Patricia [Patricia McKenzie] were more difficult.

“It was kind of strange but in the script we were supposed to climax at the beginning of the scene then have this discussion afterwards.

“But David had the brilliant and inspired idea to have us talk while we were having sex.”

He also said that he was grateful to be offered the role and his hopes of breaking away from the Twilight franchise.

He says: “When you’re part of an immensely popular film franchise like Twilight, it tends to overwhelm anything else you’re doing while those films are still part of the public consciousness.

“Now at least a film like The Hunger Games is gaining a lot of attention. That’s a good thing for me because I can break free from a certain perception that’s been formed about me through my character in Twilight.

“It’s ironic but I was offered the part in Cosmopolis on the last day of shooting on Breaking Dawn. It was an incredible feeling to be getting a call from David Cronenberg at that particular moment.

“It also reminds me that I should be very grateful for what the Twilight films have done for me.”

He also says; “It’s up to you to make the most out of your life.” Obviously a wise man.

CANNES 2012 PREVIEW


The most prestigious and coveted film festival on the planet is upon us as filmmakers, stars and journalists descend on the southern French seaside resort to view and critique some of the most anticipated films of the year. Of course I cannot be going myself; the rigour of the festival is said to drive even the most dedicated of film journalists to the edge let alone a beginner. But I can definitely cast my eye over the selection and pick ten of them that have caught my and other cinefiles eyes. Some of these have confirmed UK release dates, others do not. Either way the calibre of these titles should see them generating plenty of buzz before their arrival on these shores.

MOONRISE KINGDOM

The seventh feature from the king of idiosyncratic American indie cinema Wes Anderson is a period piece set in the mid sixties following two runaway teenagers in love and the haphazard search party that sets out after them. Anderson stalwarts Bill Murray and Jason Schwartzman are joined by newcomers Bruce Willis, Edward Norton and Frances McDormand to name a few. Anderson’s exceptionally detailed, designed and witty directorial style may not be to all tastes but for fans of his work this is set to tick all the boxes.

LOVE

Austrian master of discomfort Michael Haneke returns to France for a tale of a couple who must care for the wife’s elderly parents. French acting legend Isabelle Huppert appears alongside William Shimmel of the magnificent Certified Copy in what would appear to be a more gentle approach for Haneke. Those familiar with his work however, will be prepared for terrible things to happen.

KILLING THEM SOFTLY

The Assassination of Jesse James was one of the most criminally underrated films of recent years so hopes are high for director Andrew Dominik and star Brad Pitt’s reunion in this gritty crime thriller about an underworld investigation into a card game heist co starring Sam Shepard, Richard Jenkins, James Gandolfini and Ray Liotta. Pitt appeared in last year’s big Cannes winner The Tree Of Life. Can he make it two in a row?

COSMOPOLIS

Robert Pattinson has the hearts of millions of Twilight fans and now we find out if he can win critical acclaim in Canadian maestro David Cronenberg’s twisted thriller about a young elitist yuppie travelling across New York City for a designer haircut and getting caught up in a dystopian, cultural revolution. Imagine a science-fiction take on American Psycho.

GRANDMASTERS

Wong Kar- wai has had glory at Cannes before with his visually lush and unconventional takes on traditional genre features with In The Mood For Love and Chungking Express. Now he turns his fine eye to a classic martial arts tale (based on the Ip Man series) with Asian superstar Tony Leung pulling all the moves.

RUST AND BONE

Jacques Audiard is known for his poetic yet brutal dramas such as A Prophet and The Beat My Heart Skipped. Hopes are high for this dramatic tale of a marine park worker crippled in an accident who finds solace with an immigrant bouncer. The magnificent Marion Cotillard plays the lead and after being sadly relegated in recent American roles she may have to clear space next to her first Oscar for La Vie En Rose…

LIKE SOMEONE IN LOVE

Abbas Kiarostami is a master of blurring the line between fiction and cinematic construct and recently had glory at Cannes with Certified Copy. Here he heads to Japan, focusing on the relationship between an aging academic and a student side-lining as a prostitute. Whatever the context of their relationship the director’s previous work dictates that appearances can be deceiving.

ON THE ROAD

Jack Kerouac’s seminal road journey novel has been rolling around studios for years and now Walter Salles of the excellent road movie The Motorcycle Diaries turns his attention to the tale of two young men making their way across fifties America. Sam Riley of the the brilliant Control appears alongside Kirsten Stewart, Kirsten Dunst, Viggo Mortensen, Elisabeth Moss and Steve Buscemi. For the cast alone this is a must see.

LAWLESS

Reminiscent of his gritty western The Proposition, Australian director John Hillcot’s latest is another tale of outlaw brothers (here in prohibition era America) whose familial bonds are pushed to the limit by the pursuing lawmen and each other. Again this is a stellar cast; Tom Hardy, Guy Pearce, Jessica Chastain and Gary Oldman to name just a few.

THE ANGEL’S SHARE

Britain’s poet of the people Ken Loach is another Cannes stalwart and this appears to balance the mix between gentle humour and gritty realism of his previous work and concerns a young tearaway who finds a chance at redemption and success in the surprisingly sophisticated world of whisky brewing and selling.

The Cannes Film Festival runs from 16 May to 27 May.