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.

THE SWEET

Screen Daily:

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 Film Stage:

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.

CineVue

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.

Eye for Film

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

The Cool

Butacaancha (Mexico GIFF)

“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.”

Cinemamovil (Mexico GIFF)

“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”.

Correcamara (Mexico GIFF)

“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.”

 

“Robert Pattinson … continues to evolve as a true performer”  Awards Circuit

“Supporting turns from an excellent Robert Pattinson” Culture Fix

“Robert Pattinson … no longer needs to prove his authenticity as a proper actor” Movie City News

Update:  I will highlight the recently added reviews in bolded blue.

I put together a post for reviews when Maps screened at Cannes.   I’m only going to include excerpts that mention Rob’s performance or his character Jerome.  Some reviews skip over Rob completely and although they may give Maps the big thumbs up, that’s not what this review roundup is about so I haven’t included them.  I’ve now also included foreign reviews that are easily translated with either Google or Bing.  The links for foreign reviews that aren’t easily translated will be included in “Lost in Translation” at the end.  Anyway, here’s some really great words about Rob’s performance in Maps to the Stars (and a few not so good below *blowsraspberry*).  I’ll post a link for this under the Films page for Maps for ease if you want to go back and read.   This post will be updated on occasions and I’ll tweet when that happens.

YING

3 Brothers Film

“Of course, none of these characters are what they seem, save Pattinson’s Jerome, who is presented as something of a rube as the film progresses. He is constantly used by other characters in their power games and he fuels the engine of Hollywood by aspiring to its false dreams.  … Maps to the Stars may shock and revolt some viewers through its characters’ despicable behaviours, or it may turn off some viewers due to Cronenberg’s detached perspective, but its power lingers in the viewer’s mind long after its credits roll. It shows that Hollywood is a monstrous machine, but that it’s a human machine, one as equally worthy of pity as disgust.” (Score: 8.5 out of 10)

365 Movie Guy

“… while Robert Pattinson uses his otherworldly charisma to good effect (he’s less chilly than he was in Cronenberg’s Cosmopolis, but no less effective).”

4:3 Films

“Robert Pattinson is fine in a role that probably could have been bigger, or at least framed around being an outsider of sorts, the only vaguely redeemable character in the film, but one who still gets corrupted.”

5 Sec Review

“The performances are really good.”

A Potpourri of Vestiges

“… Robert Pattinson plays his part with minimal effort but great conviction. Pattinson certainly has come a long way since his Twilight Saga days. Cosmopolis (2012) was the break that he needed and since then he has never looked back (he has been working quite hard to change his image and already has a decent résumé to show for his efforts… while he impressed everybody with a brilliant performance in David Michôd’s The Rover, he’s just finished shooting for Werner Herzog’s Queen of the Desert wherein he will be seen essaying the role of T.E. Lawrence).”

ABC Radio (Nightlife)

“But the money here is in the performances. … In a sly joke, Robert Pattinson, who spent most of Cosmopolis in the back of a limo, plays a limo driver.”

NOTE:  When post is updated recently added reviews will be highlighted in blue

Here are the initial reviews from the press screening for “Life”.  I always find it interesting how extremely opposite people’s reactions can be.  I’ve included translations that are straightforward via Google or Bing, otherwise I’ll just post the links for the ambiguous ones under “Lost in Translation”.  If anyone wants to translate for us, we would be more than appreciative.

 

THE COOL

Boston Herald:

“Robert Pattinson is perfectly cast as Stock, a man adrift with an ex-wife from a teenage marriage and guilt filled about the young son he never sees.”

Canvas:

“Stock (a show-stealing Robert Pattinson) first meets Dean at an LA party hosted by director Nicholas Ray.”

Cereality (German):

“When choosing his actors, he proves equally good talent. Although many still on the theatrical qualities of Robert Pattinson, despite two films with Director David Cronenberg doubt. He proves a very convincing performance as Dennis Stock, however, and finds a good counterpart in Dane DeHaan.”

Cine Premiere (Mexico)

“Robert Pattinson makes a respectable Dennis Stock.”

Cine-Vue:

“DeHaan and Pattinson are also both terrific, at once elegant and charismatic, yet equally uncomfortable in the skins they inhabit. … This also affords Pattinson time out of the spotlight in one of his strongest roles to date. ”

 

I have added this to The Rover Review Roundup, in case people are wondering why it’s appearing on the site today, but this extensive analysis is a fantastic read.  I’m just extracting the comment about Robert below, but you really need to head on over to FashCam and read the entire article.  It’s more than worth it:

“Along the way he picks up Rey, the brother of one of the car robbers, a seeming dullard, played by Robert Pattinson of Twilight fame. Rey is first presented as Eric’s hostage, ransom for the return of his car but gradually the two begin to carve a partnership necessary to their mutual survival in this uncertain and violent landscape. Rey reveals he and his brother came to Australia from the States to seek mining work, suggesting that some basic industries may still be operative. When Rey later displays the ability to speak Mandarin, we must reassess our opinion about both him and the geopolitics of this world. The part is a breakthrough performance for the actor who brandishes a convincing Southern accent and reveals a depth of emotion in what is one of the most skilfully interiorized and physically nuanced performances of the year, and if the film had been seen by more people, certainly merits awards nominations.”

And this is why Rob choosing indie roles like Rey are so important, for others to actually want to see a film and recognise his talent.  I feel like framing this article.

 

For those who may remember I did separate posts for Aussie, US and UK reviews.  There has been so much praise for Rob in this role (more so than not as I’ve proven below) that I’ve put them all together in this one post.  I’m planning to do this in the future with all of Rob’s films, but I started with The Rover because you all know how close that is to our hearts here at RPAU.  Obviously I might miss a few reviews because yeah I have to actually get off the internet occasionally, but I’ll have a good go at it.  And for the sake of completeness, all reviews will be posted under each movie in our “Films” page and that way it can act as a forum to discuss the film.  Don’t worry I will post reminders when they are updated.  And for fairness we will be posting ALL reviews *grumblegrumble*.  It does seem, however, that the biggest surprise for most in The Rover wasn’t the ending, but Rob.  I’ve also added reviews that I’ve used Google to translate, however, I’m only including the straightforward ones.  For those that are ambiguous, I will include under the heading “Lost in Translation”.  If anyone wants to translate for us, we’d be more than appreciative.

THE COOL

2SER.FM

The Rover creates an atmosphere of hopelessness, punctuated by sharp, sudden violence. The film follows Guy Pearce’s unnamed character as he seeks to get back something that was taken from him. For most of his journey he’s stuck with Rey, played by Robert Pattinson in astounding form. Their relationship is an awkward one, which quickly switches between death threats and saving each others lives, more than once.

I loved this film. The cinematography is stunning, the sound design sets the perfect mood and the acting is brilliant. The breathtaking shots of deserts, mountains and towns make the setting as important a character as any of the actors. [my emphasis]

28DaysLaterAnalysis

“Still, the characters Eric (Guy Pearce) and Rey (Robert Pattinson) keep the film enthralling. The Rover is one post-apocalyptic thriller that offers tension through its minimalist approach to storytelling.”(Overall: 8 out of 10 (an intriguing story with damaged characters, enough conflict, what is the protagonist’s character arc?)

5 Second Review

“Great performances by Guy Pearce and Robert Pattinson. Mind you: this is no Twilight.” (Score: 8.5/10)