Once again, huge thanks to ROBsessed for compelling them...!
I'm unsure of what the statement being made with COSMOPOLIS is, but it can be said that Cronenberg certainly gets everything he needs out of Pattinson, whose dead-eyed stare and creepy smirk fully capture Eric's soulless nonchalance. The actor doesn't turn in a flashy performance (there's no way he could), but he's an intriguing screen presence with a glimmer of something off just behind the eyes that makes me think he has a career in playing psychos and crazies, not pretty boys. He catches plenty of ire because of TWILIGHT, of course, but after that's all over, I do believe he should seek out quirky, bizarre roles that accentuate his inherent weirdness. Even if Eric Packer is a creep lacking in anything likable, Pattinson proves to be very watchable.
from DreadCentral (4.5/5)excerpt
By and large the film’s success rests on the shoulders of Robert Pattinson, and he is a complete marvel in the role. It’s clear by now that he’s using the same career trajectory as Leonardo DiCaprio, consciously distancing himself from his heartthrob image by taking the edgiest oddball roles he can find, and he hits a home run here. Even funnier is how the distributor is trying to use Pattinson’s name to sell this movie to the MTV crowd (I would love to be a fly on the wall when gaggles of dumbfounded Twi-hards watch this one). Regardless, it’s pretty clear that Pattinson will go on to be an acting titan once the stench of sparkling vampires has worn of
from MoviesbyBowes excerpt
Holding everything together is Robert Pattinson's performance in the lead. He's good. He's real good. He starts out this icy, remote, almost alien being, then gradually and with the same exquisite precision as Cronenberg's direction, reveals emotional colors, vulnerability, hunger, desire, raw open nerves. Over the course of the movie, as shit gets weirder and the world he's known (and basically ruled) all his life collapses, it's endlessly fascinating to watch the way Pattinson plays Eric Packer's fascination with his own (self-orchestrated) undoing. I'll stop before I get too specific, but goddamn if Pattinson isn't simply tremendous in this movie. If this performance is any indication, he'll do just fine post-Twilight. The dude can act his motherfuckin' ass off, and I hear chicks dig him, so he's got that going for him as well.
Pattinson’s portrayal of the soulless, empty Packer is unpleasantly remarkable. It’s a crude performance to an even cruder character. Though Packer is as dead inside as the “Twilight” sucker, Pattinson has shown a chilling range in craft.
from KillerFilm (4/5)excerpt
I think it is safe to say that Robert Pattinson was a real revelation here, this is his best performance to date. There are no shades of Twilight or a teen heart throb here, instead he is a very cold and collected person who slowly loses it. He goes from great to greater as the film moves from its first act to its third. He seems like a great fit for Cronenberg, and this is evidence that the man is talented with the right material. Those around him are also quite exceptional, Kevin Durand is fantastic and it was actually very cool to see him in a Cronenberg film. Sarah Gadon was perfect as the wife, their relationship is cold and one of convenience. However her scenes with Pattinson are almost hypnotic, the chemistry was quite outstanding for this relationship. I don’t think you can go wrong with Juliette Binoche and Samantha Morton, both of whom are quite memorable. The stand out with Pattinson was Paul Giamatti, and their confrontation was spectacular, it may even be one of my favourite scenes this year.
I didn't think I would ever admit this, but David Cronenberg has found the perfect use for Robert Pattinson in Cosmopolis (2012). The crooked grin that reveals a fang that will forever betray the role that made him famous, the pale face with a hint of peachy pinkness so inappropriate for such harshly delineated bone structure, the ability of his nose to crinkle disgustedly as if he smells something funny while no one else does – all these invaluable talents of Pattinson’s work great to create the character of the abominable Eric Packer. Hats off to the director. He finally found some use for new Hollywood blood.GetTheBigPicture is clearly Twilight's biggest fan but the male critic had good
things to say about Rob:
It'd be easy to see Pattinson's choice to take this role as a desperate attempt to gain legitimacy after the series that will not be named, but he actually manages to knock this out of the park. Say what you will about what he's done in the past, this role proves he can really act.
Pattinson has just the right level of serenity mixed with physical discomfort: He moves gracefully, and yet we can sense his head bobbing ever so slightly, his hands fidgeting ever so noticeably. His calm is an aspirational one; we can tell he feels none of it.
from CinemaBlend (3/5/5)excerpt
Pattinson is wildly wonderful in this bizarre role, especially when those rare moments of vulnerability flash across his face.
from CinemaBlend (3/5/5)excerpt
Pattinson, capable of an unnerving stillness and a sublimely blank face, is completely in step with Cronenberg's tone-- you can see why the two are eager to work together again.
Once done of course the impossible is suddenly within imminent, obvious reach. Precision casting has much to do with the success of scenes confined either to a car or the similarly vacuum-sealed bubble Eric inhabits elsewhere (an Arri Alexa D.V. camera and some pretty hokey green screen effects contribute to the feeling of a digital para-world). Breakfast with his wife feels like a postmodern marionette show staged in an otherwise bustling diner; that visit to the barber plays out like an incantatory choral poem. Long takes give dimension to non sequitur strings of dialogue, with Pattinson under particular pressure. For the most part, and especially in a creepy-hot sex scene with a bodyguard (Patricia McKenzie), he projects a commanding, slow-burning detachment.