Sadly not everyone is loving Rob’s performance in Cosmopolis! The movie itself gets mixed reviews as well!
It’s no secret how much we love Robert Pattinson‘s acting skills, but unfortunately there are some movie critics that don’t agree! His movie Cosmopolis debuted today to mixed reviews at Cannes Film Festival.
Critics could not agree on whether they liked the David Cronenberg directed film about a wealthy man who travels around NYC for a day in a limo looking to get a haircut, and encountering a lot of life problems along the way. A few critics panned Rob’s performance, but as more reviews come out, a lot of critics are praising Rob for his “cool” performance of Eric Packer, even if they didn’t love the movie. Here’s a breakdown of the reviews:
“After a strong run of films during the past decade, David Cronenberg blows a tire with Cosmopolis. […] On the page and on film, Eric is a controlled and controlling figure, a man impervious to society’s norms who one must feel has a mind operating well beyond the capacities of mere mortals. He’s utterly humorless and without detectable compassion or accessible humanity, which makes him less than companionable as a character. Pattinson doesn’t help matters by revealing nothing behind the eyes and delivering nearly all his lines with the same rhythm and intonations, plus repetitive head nods in the bargain. It’s a tough character that perhaps a young Jeremy Irons could have made riveting, but Pattinson is too bland and monotonous to hold the interest.”
“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. The challenge of compressing such dense literary concepts in filmic form is immense, and Cronenberg should definitely be applauded for his ambitious attempt at bringing these abstractions to life. Yet there is an undeniable stale and static quality to Cosmopolis that makes it feel like watching someone read a book. […] Despite the interesting concepts, there is no escaping the lack of cinematic energy that keeps Cosmopolis from feeling like anything more than a perfunctory adaptation. Overall Grade: C+”
[Cosmopolis is] both an exceptional adaptation and a remarkable work unto itself. Eric Packer [is played by] a surprisingly adequate Robert Pattinson. […] Everything matters in Cronenberg’s “Cosmopolis,” but not everything is necessarily the same as DeLillo’s book. And that makes the film, as a series of discussions about inter-related money-minded contradictions, insanely rich and maddeningly complex. We can’t wait to rewatch it.”
“Interestingly enough, if you’re casting for a dead-eyed shark wreathed in unearned privilege, Pattinson turns out to be a pretty good choice. […] The film’s cynicism is both majestic and well-earned; at one point, Eric notes “… nobody hates the rich … everybody thinks they’re ten seconds away from being rich.” A chilly, crisp and crystal-shard sharp satire of our money-crazed world, “Cosmopolis” takes us on a limo ride through the collapse of modern society: We’re not behind the wheel for this ride, but rest assured, in the end, we’re going to have to get out and pay for it. Rating: 4/5″
“Give David Cronenberg credit for one thing: His choice to cast Robert Pattinson was an inspired and brilliant decision. While Cosmopolis is a bit too one-note to allow any proclamations about Pattinson’s range, his opaque, handsome, sometimes robot-like face compliments Cronenberg’s themes and styles perfectly. In terms of what the director seems to be aiming for here, his cold performance is nearly flawless. […] Rather than a thriller, Cosmopolis plays more like a wispy film of ideas, with conversations in the limo about society, wealth and humanity dominating most of the screen time. Almost all of these feel detached and meticulously unfocused. […]Leos Carax’s Holy Motors is much more fun, but Cronenberg has still made an odd, uncompromising and occasionally brilliant film of his own, one which is well worth seeing if only for the deft way the Cronenberg finds an emotional arc in such an inhuman world. Or else to see how perfectly Pattinson’s performance suits the director.”
“‘Cosmopolis’ is at its best when it’s otherworldly and aching with artifice. It’s at its worst when it becomes weighed down by an excessive, wearying wordiness, or when it steps out of the limo – the film’s self-imposed arena of surreality – and into a place more like the real world. ‘Cosmopolis’ threatens to soar and to be important, but it only offers flashes of lucidity; the limo is a mesmerising bubble that is quickly burst when the film steps outside it. That said, there’s a consistent air of charged, end-of-days menace running through the film, which Cronenberg handles with an unbroken sense of precision and confidence. He’s well-served, too, by a leering, disintegrating Pattinson, giving a commanding, sympathetic portrait of a man being consumed by his own vanity and power. 3/5”
“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.”
“David Cronenberg’s Cosmopolis, adapted by the director from the Don DeLillo novella, is stilted, self-important and dismayingly shallow, featuring an egg-laying cameo from Juliette Binoche, among others — although Paul Giamatti and Mathieu Amalric put some recognisable human life into theirs. As the star, Robert Pattinson’s face is set in an immobile semi-sneer of super-cool unshockability. […] Well, you don’t go to a Cronenberg movie for comedy, but rather for something exciting, exotic, daring and precise: really, none of those things is present in this agonisingly self-conscious and meagre piece of work.”
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