Robert Pattinson Australia is not affiliated with Robert Pattinson or his management in any way. Any form of copyright infringement is unintended. We respect Robert's right to privacy and do not post intrusive photos or information about his private life.
Respecting Rob because actions speak louder than words.
Before everyone jumps on that last comment – 3 out of 5 stars ain’t so bad. We know this film is under a very big microscope and I feel very very nervous for Rob.
“A cronenberg as brilliant as he is firm.
Each in their own genre, David Cronenberg and Don DeLillo are silversmiths of fantastic, unhealthy and sometimes dark atmospheres. As well as of the science of language and characters in shambles and – let’s not forget – of controversy.
It’s then pretty obvious that one would end up adaptating the other’s work. Cosmopolis is the ghostly and hypnotic story of a day in the life of a golden boy who is about to lose his empire because of the crisis, indifferent to the world that surrounds him. He’s hypochondriac and schizophrenic. His long journey across a chaotic New York, rythmed by meetings with his wife, his mistresses and his employees, will lead him to a point of no return. In a perfect balanced cinematic movement, David Cronenberg decided to adapt to the letter the extremely rich prose of Don DeLillo. He filmed with an incredible ingenuity this stifling and unsetlling closed-door.
This preconception to stay faithful to the text of the author is amazing but not without any danger. Especially in the last part of the film, where one could definitely get lost in a verbal flood that becomes complex for the viewer and for Robert Pattinson – who was perfect until then – but seems, all of the sudden, to lose control.
As always with Cronenberg, there’s no in between, no second place, no way out. Cosmopolis gets appreciated at full or not at all. Take it or leave it.”
Update: Ephie has kindly clarified some of the translation which now makes much more sense
“Hi girls. I’ve read the French article and the translation is mostly accurate. In the last comment they have used the verb mastering. So to translate it it says that Rob was impeccable up until the last scene where all of sudden he seems to be “mastering nothing anymore”.
Also the word used to describe the final Verbal flood is not complex. In English it translates as abstruse which means esoteric.
It gave me great pleasure to read the word IMPECCABLE in relation to his acting. Very pleased indeed…”
“New York is on war footing. The President of the USA is passing through and demonstrations are threatening to drown Manhattan in chaos. Eric Packer, 28 years old millionaire, doesn’t care. No matter what happens, he will go get his haircut on the other side of town.
We’re not going to lie, whether we like David Cronenberg’s recent movies, we were seriously missing the filmmaker of Videodrome and Crash. Pop open the champagne because he’s back in every shot of Cosmopolis. Even though he’s adapting someone else’s work, the Canadian filmmaker recognized his young/offsprings in the novel of DeLillo. The absurd and persistent odyssey of a young wolf in finance who parades colleagues, mistresses and doctors in his high-tech limo. When he reaches his destination, he might be left with nothing (the Japanese currency threatens his wallet, his wife is more and distant, it’s getting unbearable.) but the answer of the question that haunts him, without being able to articulate it: Can the one who possesses everything still desire anything else?
Cronenberg made sure that all his obsessions punctuate his route, whether they are intellectual (the search for ‘another’ reality) or carnal/physical (another scene that will make people talk, Packer learns that his prostate is asymmetrical). Enthroned in the back seat of his limousine Robert Pattinson reveals a deepness that gets more & more fascinating as his character gets closer to hitting rock bottom/gets closer to the abyss. The fear that surrenders his face in the last moments doesn’t belong only to this anti-hero that arrived at the point of no return, but it’s also the fear of an actor who tests his limits with an unsuspected bravery. With a feverish and decadent ride in Hell, Cosmopolis proves that he’s not done testing them.”