New Still of Robert Pattinson as Samuel Alabaster in #DAMSEL

 

THR Day 1 Berlinale Daily also gave us a great new still from Damsel featuring Rob.  The edition also contained a review (see below) which contains many spoilers and is not positive other than saying it shows Rob “in a favourable new light”.

****SPOILER ALERT****

   

 Comprehensive roundup of Damsel reviews from film festivals and releases

He’s now pulled a 180 with a hilariously oddball performance in the western comedy “Damsel,” The New York Post

Pattinson quickly (and firmly) establishes himself as the star of the movie., Geek Girl Authority

“Pattinson is a stand-out”, Mr Will Wong

Below will be a roundup of media reviews which will focus on Rob’s performance in Damsel.  In the event that the reviewer fails to mention Rob (because surprisingly that sometimes happens), I will provide an extract of their opinion of the film.  Let’s get started with what to me seems like a positive reaction to Rob’s portrayal of Samuel Alabaster at Damsel’s Sundance world premiere.  Note:  This post will update as the film premieres at film festivals, special screenings and worldwide releases.  I will try my best to denote SPOILERS so I apologise in advance if I inadvertently miss letting you know.  

SUNDANCE FILM FESTIVAL (JANUARY 2018)

If you want to check out initial reactions at Sundance click HERE

VARIETY (SPOILER WARNING)

The movie that surrounds them unfolds with an invisible wink, yet the pace is so stately and deliberate that at moments one is tempted to call it glacial. The rhythm is no accident; the Zellners know just what they’re doing. (They must be fans of Jim Jarmusch’s “Dead Man.”) Yet “Damsel,” if I’m going to be honest about it, is droll and touching and amusing and a little boring, all at the same time. …

Yet they know how to use a star cast. Robert Pattinson, with a gold tooth where his right incisor should be, hits the perfect drawling note of flaked-out cheer as Samuel Alabaster … Pattinson’s performance is clever enough that we have no problem accepting him as the shambling-dude version of a classic good guy, and then, when the film’s plot turns around on him, that same friendly cracker-barrel face suddenly looks like the image of a man who may have a screw loose.

Sean P Means @moviecricket

#Sundance18 review: “Damsel” (Premieres) ⭐⭐⭐ – The Zellner brothers’ offbeat Western starts in one direction, with Robert Pattinson’s city slicker trying to save his love (Mia Wasikowska), but jumps into something far crazier. The tone shifts are jarring, but rewarding.

SCREEN DAILY

His performance in Damsel isn’t as striking as the ones he delivered in Good Time or Cosmopolis, but he clearly enjoys himself playing a gallant pioneer who may not have the mettle required to thrive in the Old West. Pattinson is very smart playing a not-very-bright guy, never letting the portrayal become one-note.

Robert Pattinson stars in Bom Comportamento #GoodTime

 

From Google translate:

Neo-noir film has tension and psychological outlines

Connie (Robert Pattinson) is a slippery character who takes his mentally challenged brother (Nick, played by co-director Benny Safdie) and tells him to do something stupid: robbing a bank. The brother fell behind; for Connie, it becomes a matter of honor to fix folly. When he discovers that Nick has been beaten in prison and is in a hospital, he improvises a plan to enter the room and kidnap him. The film takes place during the 24 hours of a day, with growing tension, a style of the brothers Safdie (Love, Drugs and New York). Their cinema is prodigious in portraying a universe of lost people entangled in strange and dangerous circumstances, which are both naturalistic and surreal. It is intriguing how filmmakers transform New York into a labyrinth as wild and tortuous as the protagonist’s mind.   4 stars

Thanks Posh.

Robert Pattinson Giving the Performance of his Career in GOOD TIME

 

It features a strong performance from the criminally underrated Robert Pattinson, Collider

[Pattinson] once again demonstrating his capacity and range in a commanding, robust performance, The Hollywood News

Not sure if you’re following my retweets of the initial reaction to the film at Cannes this morning, but to say they are overwhelmingly good is an understatement.  Here’s the first print reactions, I will update regularly so stay tuned.  UPDATE: Here’s the link for LETTERBOXD (currently has positive reviews as at 26 June 2017  – may include spoilers – this will update automatically as users add their reviews)

THE SWEET

The Hollywood Reporter (#Cannes70)

Led by Robert Pattinson giving arguably his most commanding performance to date as a desperate bank robber cut from the same cloth as Al Pacino’s Sonny Wortzik in Dog Day Afternoon, this is a richly textured genre piece that packs a visceral charge in its restless widescreen visuals and adrenalizing music, which recalls the great mood-shaping movie scores of Tangerine Dream.

Variety (#Cannes70)

Robert Pattinson hits a career high in Benny and Josh Safdie’s nervy, vivid heist thriller, which merges messy humanity with tight genre mechanics. … A career-peak performance from Robert Pattinson, as a scuzzy Queens bank robber on a grimly spiraling mission to break his mentally handicapped brother out of jail, will attract more eyeballs to this A24 release than the rest of the Safdies’ oeuvre combined, though this “Good Time” is still no commercial picnic. Rather, it’s exciting proof of its makers’ ability to chafe and challenge audiences in a growing range of registers.

Indiewire (#Cannes70)

The actor is astonishing in the Safdies’ rambunctious heist thriller, which takes place in a single frantic New York night. … This time, Pattinson provides the propulsive energy that makes the whole apparatus churn. Pushing beyond the muted roles for which he’s best known, the actor transforms into a vain, reckless character driven against impossible odds.

‘Lost City of Z’ review featured in March issue of Studio CineLive (France) magazine.

Thanks Posh

Pattinson delivers an impressively subtle, yet brilliant performance, Hey U Guys UK

Robert Pattinson, meanwhile, continues on his quiet quest to prove that he’s an excellent character actor, We Got This Covered

[A] very special shout-out to Robert Pattinson, who went and became a fantastic character actor while nobody was looking, The Film Experience

Might as well start this off because there are definitely more to come with the world premiere at the New York Film Festival.  The review extracts will focus on Robert’s performance, but if he isn’t mentioned, then I will post extracts on the movie as a whole. Please note that some reviews may contain spoilers, but I will give a heads up when that happens.  This post will be updated as the movie is released around the world.

THE SWEET

New York Times (NYFF 2016)

Stunningly shot on 35-millimeter film … Mr. Gray both wrote and directed “The Lost City of Z,” and he has managed to pull off something exceedingly tricky here: a film that has the old-fashioned cinematic sweep (and sense of New World awe and discovery) of a picture like David Lean’s “Lawrence of Arabia” but without all the familiar colonialist stereotypes. Fawcett isn’t any great white savior; sometimes he barely seems to know what he’s doing or why. Nonetheless, he stumbles and paddles forward, even as he’s pulled back home by his family, notably his wife, Nina (Sienna Miller), a thoughtfully realized character who insists, if vainly, on her rightful place as his equal.

Lincoln Centre blurb (NYFF 2016)

The Lost City of Z represents a form of epic storytelling that has all but vanished from the landscape of modern cinema, and a rare level of artistry.

Indiewire (David Ehrlich) (NYFF 2016)

If not for the ineffably modern hollowness of Charlie Hunnam’s speaking voice, or the distinct rind of 21st century celebrity that still clings to co-star Robert Pattinson like the dying traces of yesterday’s cologne, someone could easily be fooled into thinking that The Lost City of Z was shot 40 years ago,” writes . “Uncommonly sumptuous, patient and textured for a movie with such little emotional heat or staying power, The Lost City of Z doesn’t feel like a work of mimicry or homage so much as it does an immaculately crafted throwback—this isn’t just what movies used to look like, it’s also how they used to crackle, move and hum…. The film is further removed from Gray’s own experience than anything that he’s made before, and yet something about it feels indivisibly personal.” (Grade B)