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.
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.
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)
Indiewire’s Eric Kohn and Anne Thompson talk films and festivals and what it means for those films with regard to awards and commercial prospects. They discuss The Lost City of Z at The New York Film Festival at 17.29. They debate the kind of a director they consider James Gray to be, how they don’t really know what to expect from the film, but more importantly they confirm that the film does not have a US distributor. Although they do mention the fact that Plan B is involved is a good sign because of the quality of films that these producers are involved with. Miles Ahead was the last film to be shown at the New York Film Festival without a distributor and they immediately found one, but the film was released the following year. According to Anne, it will be interesting to see whether LCoZ is released in the Fall or is pushed back to Spring. Interesting listen in any event.
Here’s a roundup of reviews from around the world for the release of “Queen of the Desert” in addition to the initial roundup we put together for Berlinale. The focus is on comments on Rob’s performance, but if his performance is overlooked, then we will post what is considered about the film as a whole. This post will be updated as the film is slowly released around the world.
“… Robert Pattinson playing Lawrence of Arabia, the man himself. I was really quite pleased, however, that although Lawrence’s character was definitely one to remember and had a big impact, it wasn’t a leading role, leaving the limelight for the extraordinary explorations of Gertrude Bell to achieve the exposure they deserve.”
“As for the rest of the cast, it’s mostly good. The other main stars in the movie, Damian Lewis and Robert Pattinson, do an admiral job with what they’re given. With Pattinson being one of the only male leads in the film that isn’t romantically involved with Bell, his relationship with her actually ends up being one of the more fascinating and engaging portions of the movie, the same which can’t be said for the aforementioned Franco and Lewis.”
With the movie being released at several film festivals, I thought I would roundup the reviews so far. The review extracts will focus on Rob’s performance, but if he isn’t mentioned, then I will post extracts on the movie as a whole. You can check out the initial reviews we posted from Venice here, I won’t repeat them in this post, but I will add any from Venice that I didn’t include. Please note that some reviews may contain spoilers. This post will be updated as the movie is released around the world.
“… on the one hand, it gives the genre a dignity and firmness that few dare to give (Rob Zombie and maybe a little more) and another ripping hard historical film conventions and reconstructions of past key fiction. And today we need someone from time to time we may sift and stands up a bit. To me he has moved me the whole tree.”
“Two things are very clear by cons: Bérénice Bejo must stop playing English maternal roles as the Phantom of The Search will not be exorcised, and Robert Pattinson must work in France; there is even better than elsewhere.”
Reviews from the ‘The Childhood Of A Leader’ screenings at Venice have begun to roll in. Below are excerpts & you can read the full review by clicking the links but be aware, there are some spoilers. We will keep on adding as the reviews come in.
Like nothing you’ve quite seen before, US actor-editor-scriptwriter Brady Corbet’s directorial debut is a historical psychodrama, or perhaps a drama of historical psychoanalysis, which draws a study of the rise of fascism out of a wilful young boy’s tantrums and power struggles. Set against the background of the 1919 Paris peace conference that led to the Treaty of Versailles, The Childhood Of A Leader is as relentlessly sombre and compelling as the film’s remarkable, full-volume orchestral soundtrack by musician’s musician Scott Walker.
The feature debut from young actor turned screenwriter-director Brady Corbet, The Childhood of a Leader is an ambitious choice for a first project — a period piece tying together the post-WWI political climate and the upbringing of a child in a chateau outside Paris. The film, premiering in the Orizzonti section of the Venice Film Festival, is a huge psychological and tonal balancing act that could crumble at each turn, and yet never does.
…What could very easily be received as an irritating, pretentious feature debut is actually a display of controlled madness full of astute touches, like the use of Robert Pattinson’s persona in the few scenes he’s in. Let’s just hope the devoted fanbase he’s been leading into uncharted territory in the last few years will make it to the end of this one.
The Childhood of a Leader is a dark, enigmatic piece of work that hovers between visionary greatness and petty domestic triviality. Corbet’s inaugural stint behind the camera marks a stunning debut and the finest film at Venice thus far.
It is true that the film is divisive, but only in a good way; anyone with a high tolerance for slow, impressionistic cinema will find plenty to get lost in. Though Corbet regularly cites eastern European cinema in his interests, his debut has much more of traditional European feel; indeed it may seem like unfeasibly high praise but there are echoes of the masters (Luchino Visconti, notably) in Lol Crawley’s superb 35mm cinematography.
As you know, I did a roundup post of the reviews that came out of Berlinale. Given that the film is slowly being released around the world, and Mexico just had its premiere, I thought I would make a start with the international roundup which I will update as and when they emerge. I will add new reviews to the end of each section for ease. Note translations are done with the Google or Bing.
“The film goes ahead thanks to the effective management of the filmmaker and the splendid performances of Robert Pattinson“, Cinemamovil, Mexico
“[Pattinson] mastered the role of the character as ambitious as sensitive photographer with casual ease”Programmkino,Germany
“His natural charm and charisma take over, and it almost becomes more enticing to watch his character than to witness the life of the alluring James Dean unravel …“, The Upcoming, UK
“The unexpected delight here is Pattinson, who takes the character of Stock and shows every side of him, the unflattering ones included, to the camera. The photographer exposed as another young star is born.“Herald Scotland
“It is the classic look and a couple of performances looking to get away from imitation, opting for an impressionistic portrait of their counterparts in the flesh, which cause Anton Corbijn to deliver his more “conventional” film so far.”
“The film goes ahead thanks to the effective management of the filmmaker and the splendid performances of Robert Pattinson as the stubborn photographer who was responsible for an historic photo shoot that was reflected in the pages of LIFE and Dane DeHaan on the role of the iconic James Dean The rebel without a cause whose life became a legend despite having had a short career in acting”.
“The performances converge, function as reinterpretations of old Hollywood; the complaint is present but is veiled, it is not intended that the plot focuses on showcasing the sins that so many times have been reported. … It ends up being a story told in a beautiful way … It is made, or so it seems, for lovers of entertainment for those historians of popular culture, seeking to fill the gaps of what happens before and after the media exhibitions of stars.”
The Stars at NoonRole: Unamed Englishman Director: Claire Denis
Release Date: 2021 possibly 2022 due to COVID-19. Pre-Production: 18 February 2020 (Filming rumoured April 2021 but looks like will be delayed due to Claire working on another project).
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