*REVIEW* of Robert Pattinson with "Film4"... for "The Rover" London Press Junket...

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from film4

Australian writer/director David Michôd's first film, crime drama Animal Kingdom, was such a remarkable debut that the three-year wait for his follow-up has felt cruelly elongated. Whether or not The Rover has been worth that wait depends largely on your expectations: it's a very different film to Animal Kingdom, but Michôd's deliberate, brooding style and downbeat view of humanity permeate both movies like an unshakeable bad mood. 

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Typically, Pearce turns in the kind of intense performance that's rightfully earning him a reputation as one of cinema's most exciting talents: driven by a nameless fury for much of the film, Eric is less a person than a pair of eyes through which David Michôd wants us to see our own possible future, and effectively so. Pattinson, meanwhile, steps even further away from the sparkling vampire that made his name with an assured portrayal here. Rey is vulnerable and naive but has the upper hand in Eric's search for his car, and Pattinson comfortably carries off the complexity of the role; only in his somewhat excessive array of nervous twitches and tics does he ever look like he's actually acting.

The Rover won't be to everyone's tastes: it's a bold and subversive film that requires investment and more than a little patience from the viewer. But its message, however bleak, is an important one told with a fascinating directorial voice, and the film intrigues enough to leave us hungry for Michôd's next.

you can read the full article direct at the source...


source: Tumblr: pattinson360

*REVIEWS* "The Rover" at the Sidney Film Festival 2014.... with Robert Pattinson and Guy Pearce...

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from Graffiti with Punctuation

Pattinson is nothing short of unbelievable. Forget anything that you’ve ever seen him in before, this is a towering, career defining performance. Like Leo DiCaprio in What’s Eating Gilbert Grape, Ryan Gosling’s Half Nelson or Al Pacino’s Dog Day Afternoon – this is the one that sees the young actor nurtured to his full potential.Every single stammering unenunciated southern turn of phrase disguises the erudite Brit made famous by being the prettiest, sparkliest vampire ever. Watching his impressionable nature absorb the bleak philosophy of our man with no name (Pearce) creates a tragic Stockholm syndrome, which also affects his companion.

from Matt's Movie Reviews 

David Michod’s The Rover is a brooding and intense journey into a graceless world, with Robert Pattinson delivering a fascinating, career defining performance in the process. 

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The two man show of Pearce and Pattinson is outstanding. Pearce delivers one of his strongest turns in his portrayal of a man wounded, scarred and hardened by an uncompromising land, while also deploying a stare that can burn a hole through a brick wall.
Yet it’s Pattinson who fascinates with his turn as Rey, taking pains to shed that teen heartthrob image with a grubby and dirty look, complete with thick southern accent. Portraying a man of limited mental capacity, Pattinson is almost childlike in a performance sprinkled with jitters, hesitations and ramblings, yet never resulting in caricature, a wholly sympathetic character in an unsympathetic world.It is indeed proving to be an interesting post-Twilight career for Pattinson, who is wisely choosing projects directed by filmmakers of integrity (two films by David Cronenberg proceeded this, and films by Werner Herzog and Anton Corbijn will come after).

from SciFiNow

Guy Pearce and Robert Pattinson are superb in bleak near-future chase film The Rover. 

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It’s a tremendous performance from Pattinson, who avoids easy choices and cliches to make Rey a sympathetic and ultimately moving figure. Eric’s looking for what’s his, and Rey is looking for family. It’s this relationship that provides The Rover with much of its power. Pearce seethes with searing, desperate energy that’s beautifully matched by Pattinson’s mumbling, cautious attempts at optimism. Some of the film’s most affecting moments come when Michôd’s camera lingers on the characters when they’re alone: Pearce staring at a room full of silent caged dogs, or Pattinson quietly singing “Don’t hate me ‘cause I’m beautiful,” along to Keri Hilson’s ‘Pretty Girl Rock’ on the car radio. 

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The Rover is brutal and gripping, and its profound sense of loss gives it impressive emotional depth; it will stay with you long after the credits roll.

from The L Magazine

It’s not hard to guess whether the “halfwit” Rey has something to teach the far-gone loner Eric about the value of fellow feeling, but Pattinson is enough of a revelation to hold you through these more straight-ahead passages. Speaking with a Southern drawl and struggling through something of a stammer, the actor turns in a heavily (but not distractingly) mannered performance, portraying Rey as shell-shocked, chronically nervous about where his allegiances should lie.

from Sydney Morning Herald 

If there is less spontaneity, there is more to think about, which can have its attractions. Pattinson, almost unrecognizable as a dim-witted boy from the American south, renovates his screen image with this performance, but the film offers meagre emotional rewards, given that the two leading men barely speak.

from 2ser

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.

from Director's Cut Movies

Robert Pattinson steals the show with his groundbreaking performance, Guy Pearce now trailing too far behind. Robert Pattinson's not too bad an actor, it's just the material that's bringing his credibility down such as the Twilight Saga. The Rover will literally change everybody's perspective on him. Pattinson gives one of the best male performances of the year and it's certainly his best performance to date 

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To sum up, The Rover is a triumphant return of David Michôd with a fantastic screenplay, brilliant direction, successful cinematography, shocking and gruesome violence and some of the best performances of the year.

from Spotlight Report 

To say this feature is as bleak as the terrain it is set in would be an understatement. Bleak but beautiful as is the harsh world that sets the backdrop for the picture. There are three undeniable stars of The Rover – Pearce, Pattinson and the Australian landscape that is equal measures stunning, dangerous and unyielding. 

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Whilst Pearce appears to be dead inside, Pattinson’s sweet naivety and loyalty is endearing. He has misplaced hope in a world where there is no place for such luxuries. He plays the role perfectly and flexes acting muscles that have previously lain dormant in the less challenging roles he is known for, capturing the stunning simplicity of his character. 

source: thanks to ROBsessed for compiling them...
gifs: Tumblr: sarark

"The Rover", with Robert Pattinson and Guy Pearce... totalizes 75% on Rotten Tomatoes ...

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from Rotten Tomatoes

from Jamie Graham (Total Film)

Between this and his work for David Cronenberg, Pattinson is suggesting his career post-Twilight will sparkle like Edward Cullen's skin. Michod, meanwhile, confirms he's a filmmaker of considerable talents.

from Jessica Kiang (The Playlist)

A fascinating movie, flawed but occasionally brilliant.

from Paul Byrnes (Sydney Morning Herald)

The Rover is dark and engaging, with superb use of the heart-stopping landscape around the Flinders Ranges, but it could be accused of mannerism.

REVIEW* Studio CineLive about "The Rover"....

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translation...

A road movie with ironic darkness 

David Michôd likes contrasts. Discovered with 'Animal Kingdom', a psychological thriller, almost behind closed doors, visually dark, we find him three years later with a post apocalyptic western located in the Australian outback, overwhelmed by the sun. But this light is misleading. 'The Rover' works in the same tantalizing way as his first feature film. 

(... Synopsis ...)

Accompanied by an anxiogenic and intriguing soundtrack, this road movie is terribly ironic especially for his darkness. Subtly blowing hot and cold, Michôd manages to create empathetic conditions toward the selfish and monstrous central character in the literal sense. Until a disconcerting final scene, but finalizing the work of a this master of cynicism, so assured that it becomes fascinating. In the main roles, the rough hardness of Guy Pearce goes perfectly with lost innocence brought out by Robert Pattinson. Any resemblance to any existing characters and economic situations ... or about to be are obviously anything but accidental.

translation: Pattinson AW
source: ROBsessed

*REVIEW* Studio CineLive about "Maps to the Stars"....

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translation...

Forget the gloomy or easy-peasy Cosmopolis and A Dangerous Method, Cronenberg is back to his domain of preference: rough, trashy with crazy characters and a hypnotizing atmosphere. Maps To The Stars is like a reborn for his filmography. Is it because for the first time he endorses the pamphlet's codes in this dark and incandscent representation of Hollywood where the false pretences are set as a moral code.

A family of nutcases, a star's comeback, a young roquet, a pyromaniac schizo-poet or a young limousine drive with a predatory smile who fucks in the backseat: Cronenberg feasts on these crazy characters and this culture of appearances in a very passionate movie. Maps To The Stars is raw and hypnotic, between reality and fantasy, dreams and nightmares. Until an icy and violent ending pursued with surprising events.

Mia reveals her "poisonous flower" side, Robert Pattinson shows he's more than a pretty face and Julianne's through the roof with what will become THE performance of a career which is already brilliant. Just like Cronenberg who renews with this twisted , distinguished and intelligent cinema.

scans: MTTSFrance
translation: @Sunny

source: mapstothestarsfilm.com

One mor great "Cosmopolis" review... by Celluloid Junkie...

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Never can't get enough of great reviews...!!

from Tumblr: unproductive-thinking

 

 

from celluloid junkie

Cosmopolis is the 2012 sci-fi drama directed by David Cronenberg starring Robert Pattinson as Eric Packer, Paul Giamatti as Benno, Juliette Binoche as Didi, Samantha Morton as Vija, and Sarah Gadon as Eric’s wife, Elise. 

Love him or hate him, and I’m sure there’s a fair amount that could go either way, Robert Pattinson is here to stay. 

Pattinson’s performance in Cosmopolis is near-perfect. That is to say – this film adaptation of the novel of the same name by Don DeLillo is strangely literal. Not all written dialogue sounds as good when spoken aloud as it does in your head. With Cosmopolis, if you ever do adjust to the cadence and language of its cast of characters, you may have already given up on the plot. People seem to have confused this oddness with Pattinson’s (et al) ability to act. 

This is a mistake. 

The film – its acceptance or rejection – is down to David Cronenberg, best known for his work in the body horror genre (The Fly, Rabid, Dead Ringers), who – acting as screenwriter and director, was the visionary force behind Cosmopolis. His decision to maintain Don DeLillo’s awkward dialogue lends a coldness and distance to the work making it next to impossible for people not in touch with the subject matter or references to access and draw from. 

The result for most is a film that feels staged and unrelatable. 

I meant what I said. Pattinson’s performance as Eric Packer is cold on the surface but emotionally flammable internally. Oh you see what I did there? You may think I’m referencing Pattinson’s Twilight days, but the truth is there is no Edward Cullen to be found in his performance. In fact, Pattinson’s stoicism is so fragile in its construction, it takes but little to bring forth the cracks where the heat bubbles up. Pattinson easily turns it on and turns it off, at once miserable and yet exultant. Back and forth and back again. Pattinson proves he is not afraid to be ugly and be seen doing ugly things. 

Cosmopolis is peppered with public outcry and prone to its own “occupy” crowds that close in on Eric’s limo to deface and damage it. This should be delightful for those who have felt the crunch since the 2008 financial collapse. It should feel like getting a pound of flesh. But it doesn’t. Because we rarely see beyond the walls of the limo, we remain as cold and detached from the experience as Eric.

you can read the whole review here ...


source: Robert Pattinson Moms

[PRESS SCAN] Intoxicate #102 (Japan)

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The Movie Critics from the Free Magazine “Intoxicate #102” 

The Magazine “Intoxicate #102”, you can find them at the Tower Records, there was an article about the movie screening information, also an movie critics.

  


source: Robert Pattinson Press Japan

RE *REVIEW* ... of "The London Film Review" on "Cosmopolis" and Robert Pattinson...

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I just LOVE that review (and the guy, David Olertton, who wrote it)...!! 
huge thans to Robert Pattinson Australia for bringing it up..!

from The London Film Review :

“With opinion divided over the merits of Cronenberg’s “Cosmopolis” allow me to weigh in: Cosmopolis is the only film so far this year that I would pay money to re-watch. Which is kind of ironic given that the whole film was about how Capitalism cannot survive. 

Too many people are sitting back saying they didn’t get it, there were no guys in costumes blasting energy bolts at each other, no explosions, Pattinson was too passive, the themes were too obscure. There are moanings about the incomprehensible dialogue, the slow pace, the weird climax. Yeah, look: you totally, completely, utterly missed the point. All the things about Cosmopolis that you didn’t understand and are complaining about were exactly the point of the film. Cronenberg roped you in with Pattinson (and what a brilliant call that was, and a great performance by Pattinson, kudos all round), and now you are all “where was the vampire?” 

Seriously? Have you ever watched a Cronenberg movie? He doesn’t do mainstream. On a couple of occasions his films blow up and everyone loves them (A History of Violence, Eastern Promises) but generally Cronenberg does his own thing. And he does it very, very well. Forgive him for occasionally marrying a popular art form with intelligent ideas and a twisted sense of humor. That really shouldn’t be allowed. I see that. 

Look, go see Expendables 2. Really, go see it. Bunch of aging testosterone fuelled guys blowing stuff up cos that is the American Way- go see it. It wasn’t new in the eighties, it isn’t new now. Go see Batman too. Guy in a daft suit beating up criminals based on a comic book – a movie that has been running on a hype engine for six years. Go see ‘em both. That’s the popcorn entertainment you want, fine, and all power to the respective directors and actors. They’ve done a good job. But please – for the love of god – do not complain that Cosmopolis was incomprehensible whilst munching the popcorn and saying “what a great movie that was” to Expendables 2. Just…don’t. Much as I love comics and much as I enjoy a bit of all out action with Stallone and Arnie, see it for what it is.
Cronenberg, on the other hand is offering you something different.


The incomprehensibility of Cosmopolis was half the point, and eighty percent of the humour. Packer (Pattinson) lives in a world that IS incomprehensible to the majority of us. The humour that most people seem to have missed is that this world is so detached from reality that it has all become meaningless. The characters are completely incapable of having a conversation that doesn’t drift off into obscurity and an inability to communicate with each other. Cronenberg spells this out for you in capital letters in scenes between Packer and his wife. “I find it hard to be detached” says Packer’s wife on discovering he has cheated on her (in a completely sham marriage) – and the line is delivered in the most totally detached voice possible. A protestor sets fire to himself and is dismissed as being unoriginal. Packer, as his whole wold is collapsing, obsesses over buying Rothko – Rothko being the ultimate anti-capitalist artist. These people live in a world so far removed from reality it can only be viewed as a black comedy. Even Pattinson’s character has realized this, leading to his epic swan dive that forms the core of the narrative.
It wasn’t violent enough, wasn’t sexy enough are the other complaints. Actually the film was pretty violent – but Cronenberg chose to have the violence mostly off-screen and on the sidelines, which shows a director at the height of his ability. He respects you as an audience enough to fill in the blanks. Scenes like the security guard outside the limo beating up protesters whilst inside it was business as usual were hilarious, if you were sharp enough to catch it. The underlying black comedy was strung along throughout.
The fact is, Cronenberg made a movie for YOU. The 99%. A movie that reflects, comments on satirizes and parodies our time. A movie to provoke thought, encourage debate, mystify – and to enjoy along the way. And thank God he did because right now the alternative looks like X-men 12 and the Expendables 7. Is that really, honestly all you want from your movies? 

But if you are too lazy to get the fact that the fact you didn’t get it was actually the point -Ican’t help you. I didn’t get half of it. That was partly what made it such a breathtaking viewing experience. It challenged me, made me think and made me want to rewatch it. And it looked beautiful along the way, as Packer’s environment gradually degrades, reflecting his owncollapse. 

So anyway, there’s my take on Cosmopolis, for what it is worth.
Hi, I’m Dave. I’ll be serving lessons on how to tick everyone off by appearing to be intellectually superior on the way out. In the meantime, take a cookie. They’ve been cut.”

source: The London Film Review via Robert Pattinson Australia

*REVIEW* "Miami.com" on "Cosmopolis" and Robert Pattinson...

Pretty awesome....!!

from Miami.com

Cosmopolis is mostly about the journey, not the destination. In adapting Don LeLillo’s once-ridiculed but now uncannily prescient 2003 novel, director David Cronenberg has kept the premise intact: A 28-year-old billionaire, Eric Packer (Robert Pattinson), takes a limo ride across New York City in search of a haircut. The president happens to be in town that day, so traffic is snarled even more than usual. 

Inside the enormous, bulletproof vehicle, Eric keeps an eye on his fortunes via digital monitors and devices (they look too sleek and futuristic to call them computers). He gets visitors, as if the limo were an office, from his financial advisors, tech-support staff, even his doctor, who performs a prostate exam. Occasionally, he gets out of the car, like to have a meal with his wife (Sarah Dagon), who he barely knows. Mostly, though, he stays inside his vessel as it sails slowly across the city, the masses kept at bay. Life outside is white noise. On the streets, violent demonstrations began to erupt. Eric’s bodyguard (Kevin Durand) tells him someone has made a credible death threat. 

A lot happens in Cosmopolis, but the movie usually feels like it’s standing still — a procession of characters saying things we don’t understand (the jargon-heavy dialogue is all taken from the book) while Eric sits there impassively, like a bored king inside his chamber, tracking the rise and fall of the yuan, in which he has invested heavily. His vast fortune is at stake, but even the possibility of losing everything doesn’t faze him.
What’s eating Eric Packer, and why should we care? These are the wrong questions to ask of Cosmopolis, which is most certainly one of Cronenberg’s “weird” movies, told in unreliable first-person (Crash, Naked Lunch, Spider, eXistenZ) instead of his more accessible, popular pictures (The Fly, A History of Violence, Eastern Promises.) Is there any other esteemed director who would dare make such an aggressively divisive film at this stage of his career? Cronenberg is 69, but he’s still interested in exploring and experimenting with his medium. Every shot in Cosmopolis is precise, every edit exact. The score by Howard Shore, a frequent Cronenberg collaborator, sounds like airbrushed metal and ostentation, but with a coiled threat of menace. 

Cosmopolis may be a cerebral mood piece, but it is loaded with strong performances that connect on an emotional level. Samantha Morton does wonders with an enormous monologue warning Eric about the financial icebergs toward which he’s floating: You can’t make sense of anything she’s saying, but you can’t help be transfixed by her. Juliette Binoche pops up for a quick, sweaty cameo as Eric’s art dealer and friend with benefits. Paul Giamatti is a bitter man whose place in society was deemed obsolete by Eric’s brave new world but who now has nothing to do: He’s been relegated to the junk heap, and he’s not happy. 

But the movie wouldn’t work without Pattinson, who is in every scene and holds the film together with his portrayal of a magnetic tycoon rotting on the inside — a disillusioned man who, having amassed everything he could possibly want, asks if that’s all there is. This is just one possible reading of Cosmopolis: Viewers with the stamina to make it to the end (discipline is required) may have differing interpretations of the final scene, which is often been true of Cronenberg’s best movies. DeLillo’s book, inspired by the dotcom bubble burst, was critical of how online entrepreneurs had reduced the power of money to an abstract commodity (“What does it mean to spend money? A dollar. A million.”) 

Cronenberg’s film replaces that subtext with the more recent economic crisis. The protesters outside Eric’s limo, who fling dead rats and deface his gleaming white car — an obscene symbol of wealth — today seem like stand-ins for the occupy movement. But to interpret the movie as a social-economic statement is reductive. This is an artful, challenging movie, rigorously structured and emotionally detached, that entrances you on a subliminal level. Cosmopolis isn’t for everyone. But if it grabs you, prepare for it to stick in your head for days.

source: Miami.com via Pattinson World

*REVIEW* "HitFix" on "Cosmopolis" and Robert Pattinson...

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from HitFix

“Cosmopolis” seems to be a perfect fit for Cronenberg, and my experience with the film was complicated a bit by the screening room where I saw it. There was no air conditioning, and it was mid-afternoon during the recent crazy heat here in LA. The screening room was completely full, every seat taken, and by the middle of the film, I was so hot I felt like I was slow-motion-fainting. Awful. And with a film that’s designed to make you uncomfortable anyway, my first reaction was to recoil. 

I walked away blaming the movie, but thinking it over for the last week or so, I can’t get it out of my head. It’s exquisitely made, carefully controlled, a simmering look into the dead empty eyes of Eric Packer (Robert Pattinson) as Rome burns around him. Based on a novel by Don DeLillo, it’s all character, all mood, a slow surreal ride through Manhattan during a meltdown that seems to have been caused, in part, by his own hubris, and Pattinson is fascinating in the role. He seems to constantly be shifting through a complicated but subterranean inner implosion, pieces of himself shutting down at random, little by little. His stated goal for the day is simple enough. He wants a haircut. Never mind that the entire city seems to be on high alert thanks to the visit of a President and construction and protests and traffic and madmen and giant rats and angry wives and dirty lovers, all complications thrown in the path of Packer as he attempts to make his way across this tiny island, locked inside his sterile bubble. 

I do not think I’m out of line when I observe that Robert Pattinson is from outer space. Part of what makes him so compelling in the film is that whatever weirdness Cronenberg throws at him, he rolls with it, staring out of that blank passive face with furious eyes. People race in and out of his personal orbit. He gets a physical from a doctor inside the cab at one point, carrying on a conversation while this guy’s got half his arm inside him, and the way Pattinson plays that scene is impressive. On the whole, Pattinson delivers in this difficult role, and I can’t picture anyone else tuning in more completely to what Cronenberg has done here. 

It helps that Pattinson interacts with truly great performances from the supporting cast. Juliette Binoche shows up to have some sex, drink some booze, and lay some ugly truth on Pattinson’s character. Sarah Gadon is Packer’s wife, newly married and already looking for a way out, away from this shark-eyed and alien “other” who she has barely gotten to know as a husband. Jay Baruchel and Kevin Durand both do sharp and specific work in small roles here, and there’s a wonderful but oh-so-short appearance by Samantha Morton as well. Paul Giamatti almost steals the film in the last ten minutes, and it’s a testament to how good Pattinson is in the film that he stands there and refuses to let Giamatti run away with it. He gives as good as he gets. Giamatti is great, giving voice to all the frustration and powerlessness of everyone caught up in these forces at work in the modern world, these soft little boys dressed up in expensive suits, untouchable in their coffins on wheels. Giamatti is determined to break through the expressionless exterior of Packer to find the soft and vulnerable heart, and once he does, he plans to rip it out.

Read the rest of the review here


source: HitFix via ToR

Some even MORE great *REVIEWS* about "Cosmopolis" and Robert Pattinson...

Can't stop reading them....!

Once again, huge thanks to ROBsessed for compelling them...!

   

from Joblo (4/10) ok, didn't like the film.... BUT... (about Rob)

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.

from FoxNewsexcerpt

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.

from BlogCritics.orgexcerpt

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.

from Vultureexcerpt

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 SheKnowsexcerpt

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.

from CapitalNewYork

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.

*REVIEW* of "Rolling Stone" on "Cosmopolis" and Robert Pattinson...

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from Rolling Stone

If you can get past the psychological density of the source material (Don DeLillo's 2003 novel) and the tabloid noise around the star (RPatz leaves KStew!), this mesmerizing mind-bender ought to prove two things: (1) Robert Pattinson really can act; (2) Director David Cronenberg never runs from a challenge. Pattinson stars as Eric Packer, a master of the universe at 28 but still helpless to stop his financial world from collapsing as he rides around Manhattan in a white stretch limo. Destination: haircut. That's it: one day, one limo. But DeLillo crowded that day with incident. And Cronenberg, a master recalling his surreal work on eXistenZ and Naked Lunch, adapts the novel with a poet's eye and a keen ear for language. Eric has hermetically sealed himself inside a limo designed to block out every trace of the outside world. Inside, Eric can ignore the Occupy Wall Street-like protests from the 99 percent, consult with his geek chief (Jay Baruchel) and his money guru (Emily Hampshire), submit to a prostate exam, have sex with his mistress (Juliette Binoche), and get out for disturbing meetings with his wife (Sarah Gadon) and a disgruntled former employee (Paul Giamatti). Working with gifted cinematographer Peter Suschitzky, Cronenberg creates a crumbling world in microcosm. In this fever dream of a movie, Pattinson is incendiary, notably in a climactic gun scene with the great Giamatti. Cosmopolis, demanding as it is daring, is no easy ride. I mean that as high praise.

source: Rolling Stone via Pattinson World

*REVIEWS* of "Movie Line" on "Cosmopolis" and Robert Pattinson...

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from Movie Line

Easier to admire than to love, David Cronenberg's Cosmopolis is an amplified, feverish vision of the one percent as scarcely human — not because of any innate maliciousness, but because they're so removed from the lives of the masses. They're like children who've already won a video game and now play carelessly, without any need to observe the rules. 

The lead role of 28-year-old billionaire Eric Packer is played by Robert Pattinson, although the star of the film is just as much Packer Capital's high-tech stretch limousine, which serves as his mobile office as he inches across Manhattan in search of a haircut and, perhaps, his own destruction. 

That limo, equipped with glowing console panels, a slide-out urinal and what's essentially a throne in the back, is the primary setting of Cosmopolis. It's a hermetically sealed bubble in which Eric can glide through the roiling urban landscape, jumping off or taking on passengers at whim. He is in the city, but not a part of it. The vehicle is armored and, he explains to his aloof wife Elise (Sarah Gadon), "Prousted" — lined with cork soundproofing — though the latter gesture is, he admits, largely symbolic, as the New York noise manages to bleed through. Despite this, the barrier between him and the world is considerable, bolstered by watchful presence of his security chief Torval (Kevin Durand), who informs him tersely of any credible threats to his life. 

Cosmopolis is based on the 2003 novel of the same name by Don DeLillo, but Cronenberg adapted the tale to the screen and it feels very much like a Cronenberg work. It's the chilly sibling to eXistenZ, without the comfort of slipping realities. If the universe of Cosmopolis were to come loose, it would only reveal a void underneath. 

Pattinson does a quietly marvelous thing in finding vulnerability in Eric without making it seem like softness. The film depicts Eric's financial kingdom (and with it his sense of self) crumbling over a day, but his breakdown is a gradual one. His panic rises in barely perceptible increments. 

Despite Torval's warnings, Eric has set out to get a haircut, though he doesn't seem to need one. (Pattinson begins the film looking like a character from The Matrix, pale and immaculate in his dark suit and sunglasses.) The city is in a state of intense gridlock thanks to a presidential visit, the funeral procession of a famous Sufi rapper and by anti-corporate protests that strikingly recall Occupy Wall Street, though instead of a tent the crowd's chosen symbol is a giant rat. 

As the limo crawls along, Eric takes meetings with coworkers and employees who appear in his car as if beamed in: his partner Shiner (Jay Baruchel), his art consultant and lover Didi (Juliette Binoche), his finance chief Jane (Emily Hampshire) and his adviser Vija (Samantha Morton), with whom he sips vodka while calmly discussing the rioters outside rocking his limo and spray-painting anarchist symbols on it. "This is a protest against the future," she says. Packer Capital is attempting to short the yuan, a gambit that is not going well and bleeding the company of vast amounts of money as the hours roll by. 

Eric is a big fat symbol — the film treats this fact with a wink — never more so than in scenes with his wife Elise (Sarah Gadon), who's as much an enigma to him as he initially is to us. A poet from a massive wealthy family, she's indifferent to the wealth he's built and the position he's achieved. She's also apathetic to his more animal needs: Elise solemnly refuses to have sex with Eric because, she tells him, she needs to conserve her energy for work. Their connection is so tenuous and they know so little about each other that their marriage might as well be an arranged one between two royals. 

Cosmopolis is a film about the demeaning and dehumanizing effects of money, and Eric's wealth has left him untethered. He can buy things or simply have them at will — security, sex, an appropriate spouse, maybe even the Rothko Chapel, which he wants to keep whole in his apartment — but few of these acquisitions seem to resonate with him. As a portrait of the far end of wealth, Cosmopolis is hauntingly hollow, its world deliberately crammed with things but empty of meaning. 

It's possible that Eric courts death — by intentionally putting himself in the way of a "credible threat" — because he's losing his fortune, or maybe he set out to lose that fortune first as part of plan for complete self-destruction. Either way, Cosmopolis presents a world of vivid and sometimes nightmarish imagery outside those tinted windows, and finds something elegiac and terrible in the detached way its characters process what they see. As Morton's character says as she gazes at a protester who's set himself on fire outside the limo: "It's not original -- it's an appropriation."

source: Movie Line via RPattz Daily

[PRESS SCAN] Los Angeles Times - Sund. 12th August 2012

About Rob, David Cronenberg and "Cosmopolis", of course....!

  


source: Spunk-Ransom

*REVIEW* of Robert Pattinson in "Cosmopolis" ...

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from  Geekstromomy ...

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Robert Pattinson’s performance was just stunning throughout the film but the scenes between him and Paul Giamatti were positively powerful. Paul Giamatti, portrayed Benno Levin, a former employee of Packer Capital who wants to assassinate Eric (Pattinson). He feels that if he does, it will somehow right the wrongs done not just to him, but to all of the downtrodden. The depth and power of the performances by these two actors during the end sequence was nothing short of cinematic majesty. At film’s end, my friend and I were stunned into silence, fighting to find words to describe the sheer brilliance of this film. The end sequences of this film were where the power and profundity really come together beautifully.
I have say, “Mr. Pattinson, I absolutely commend you. Mr. Cronenberg, your vision is as always, complete and powerful.” These elements are the one-two punch that delivered one hell of a knockout performance. This is a film that needs to be seen. Likewise the novel, on which it is based, needs to be read. 

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you can read the whole review HERE

source: Geekstronomy via pattinsonworld

[PRESS SCAN] EW's Review on "Cosmopolis" and Robert Pattinson..

Grade C...  
       

source: Source / PattyStewBoneCity via ToR

*REVIEWS* on "Cosmopolis" and Robert Pattinson...

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once again... thanks to ROBsessed, who compiled them...

from The West Australiaexcerpt

Many critics have criticised Cronenberg for replicating almost scene for scene DeLillo's slender novel, right down to the highly mannered ideas-encrusted dialogue which is delivered without passion or spontaneity. One reviewer even complained the film lacked "heart".
But this is the very subject of the movie - the replacement of heart and soul and all the human stuff by the brutal logic of "cyber-capitalism", in which the fate of nations is now determined by the movement of numbers.
None of this quite emerges as forcefully and frighteningly as it does in the book but it's hard to imagine an actor better in the role of Eric than Pattinson, who brings snap and intelligence to DeLillo's death-haunted dialogue (Cronenberg has even suggested Eric is actually dead) at the same time as suggesting the man he once was.
If you thought his Edward Cullen was a cold bloodsucking parasite wait until you get a load of his Eric Packer.

from Filmosphere (4 out of 5 stars)

Et au delà de seconds rôles assez géniaux, comme des petites parties d’un monde déjà enseveli, tout le film est porté par la révélation d’un Robert Pattinson impérial, qui se révèle capable de soutenir un film aussi fort sur ses jeunes épaules. Il est bluffant, et confirme que certains talents ne peuvent se révéler qu’au contact de grands metteurs en scène.
(And beyond supporting roles pretty awesome, as small parts of a world already buried, while the film is carried by the revelation of an imperial Robert Pattinson, who proved capable of supporting a film as hard on his young shoulders. It is astonishing, and confirmed that some talents can prove that in contact with great directors.)

from House of Paradoxexcerpt

There are plenty of close-ups of Robert Pattinson and he's in every scene, his character is tough, cold hearted and calculating - kind of a passive aggressive, financial vampire and he plays it extremely well. Pattinson is clearly trying to round out the scripts he chooses and building a nice portfolio of work.

from QuickFlix

Pattinson, like Jeff Goldblum, and James Woods, and Viggo Mortensen before him, has one of those perfect Cronenbergian faces. It’s as if he’s been moulded – shark-like, from the eyes to the jowls – to become the ultimate receptacle for the movie’s message.

Indiewire named Cosmopolis #1 on their 12 films to see this August list. Also commented that Cosmopolis is "much more thought provoking star-powered cinematic option than almost anything else this summer."

from Crikey (AU)excerpt 

The film is destined to be derided and misunderstood, and, deliciously, to thrust stray tweens into an idiot wind of confusion when it is realised that the prime-cut of Robert Pattinson’s surface values can’t possibly appease them. Not this time. Whether Cosmopolis was financed partly because of his involvement, or whether Cronenberg believed he was the best man for the job, or both, few can say. But yes: the Twilight smirk-maker is very good in a role that plays to his strengths.

from Empire Online (AU)excerpt

Frustrations but not catastrophes, praise must go to Pattinson’s terrific performance. A magnetic, mesmerising anti-presence, the perfect redeployment of the pin-up cheekbones of the R-Pattz myth. As the camera gazes deeper into his frozen face, we detect a concerto of tiny twitches, lurking smirks and trickles of sweat — micro-fluctuations in the sanity of a man who has everything.

source: ROBsessed

*REVIEWS* on "Cosmopolis" and Robert Pattinson...

SCAN of "Nylon Magazine" ...

click to read...!



source: @lacesy| Gossip Dance via ToR

More *REVIEWS* on "Cosmopolis" and Robert Pattinson...

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huge thanks to ROBsessed who once again, compiled all these reviews....!

from Shotgun Critic, 4 stars:

As an adaptation of the equally unapproachable novel by Don DeLillo, Cronenberg made a few very wise decisions early on. One, this is Robert Pattinson’s hands-down best role. In the hands of a very capable director and a punishing script, Pattinson turns in a performance that channels a young Robert De Niro, New York twang and all. His performance is so understated and brilliant that, during moments where he breaks through this Wall Street gloss, he comes across as truly unhinged and monstrous. This is a frightening performance in the best ways and points towards a hell of a career ahead for Pattinson.

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For one of the smartest films I’ve seen in a while, Cosmopolis is also one of the least outwardly enjoyable. That by no means makes it anything less than a great film however. But if you can stomach the loose poetry of the dialogue, heavy use of metaphor and occasionally lax pace, this will leave you thinking about its cultural commentary long after the curtains close.

from The Yorker (UK)

The casting of Pattinson as the quasi-psychopathic playboy may be a surprising move, but he delivers a magnetically credible performance. Packer is a curious creation, a man who views life through a mathematic prism, obsessed with control and perfection, terrified of abnormalities and who insists on having daily health check-ups. It would be easy to interpret him as a symbol of American capitalism, but Pattinson succeeds in bringing out the humanity of his character, particularly in one scene where he is struck with grief for the death of an idol. Samantha Morton, Juliette Binoche, Mathieu Amalric and Paul Giamatti are all also excellent, the latter especially in a nail-bitingly tense stand-off that seems to go on forever.

from Next Projection, 92/100:

(excerpt)

Where Pattinson may seem an unlikely addition to this elite club, he could scarcely be more suited to the role of Packer. Like Packer, Pattinson is more a name than a recognisable personality, a figure all know but few truly understand. In Pattinson’s every glance, every movement, every smile, there is the sense of a man coming to terms with whom and what he is. Packer’s shifting perspective on himself is far more understated than that of the world’s, and in this the true brilliance of both Pattinson and the film itself come to be revealed.

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This is Cronenberg returned to what he does best, delivering a film that stands both as a highlight of this year, and of its director’s work to date.

from The Age (AU) 8/10:

(excerpt)

In classic Cronenberg fashion, the film looks and feels absurdly clinical, plus there's a visually marked contrast between the dull sheen of Packer's limousine (essentially, a slow-moving penthouse on wheels) and the anarchic world outside, to which he no longer relates. Interestingly, despite delivering a robust turn as Packer, Pattinson agonised for days over how to turn Cronenberg down for the role. "I spent a week thinking, 'I know it's really good, it's Cronenberg, but you're in every scene.' What if I f--- it up?'' he told me at Cannes, following the film's world premiere there. Cronenberg's sixth sense went further, still: when they were shooting, the Occupy movement was barely in its infancy. Given the increasingly marked social divides, particularly in Europe, the film feels more relevant now than ever. And as a thoughtful essay on a man fighting for meaning within his hollow surrounds, it's riveting, poetic and thoroughly Cronenberg.

from Crikey (AU):

(excerpt)

The film is destined to be derided and misunderstood, and, deliciously, to thrust stray tweens into an idiot wind of confusion when it is realised that the prime-cut of Robert Pattinson’s surface values can’t possibly appease them. Not this time. Whether Cosmopolis was financed partly because of his involvement, or whether Cronenberg believed he was the best man for the job, or both, few can say. But yes: the Twilight smirk-maker is very good in a role that plays to his strengths

from Guestlist Network :

There is a superb final scene between Pattinson and Paul Giamitti, an artistic and tense tété-a-tété of morals and motivations including a memorable (if ruined by its inclusion in the trailer) bit of self mutilation. If only the rest of the movie were like this, it would certainly benefit. Still, Pattinson gives a terrific turn as the spoiled, empty-hearted but energetic Packer, and it's great seeing him getting his teeth into (ahem) something a bit more worth his time. And Cosmopolis is still an important statement of our times; it's just difficult to understand what that statement is.

from Scene 360:

(excerpt)

Pattinson has made a very conscious choice to direct his acting career away from the “Twilight” franchise, and squarely in that of renowned directors and more complicated material. He pulls this off to great effect, as the film leaves its leading man nowhere to hide in regards to his acting ability and screen presence.
“Cosmopolis” is not going to be for everyone. It is not a relaxing Friday night movie and it does have a tendency to lag by the beginning of the third act, though it does redeem itself in the final scenes. When the Cronenbergian violence does come, it’s a relief, if not an antidote to all the intricate multi-layered conversations that have preceded it. Love it or hate it, “Cosmopolis” is going to create a reaction and likely a source of many university film studies papers.

from The Reel Bits (AU) 3.5 stars:

(excerpt)

Robert Pattinson makes a complete break from his fangy persona, in a role that is more likely to repulse his legion of fans than it is to shock them. It is a measured performance, tightly under the rein of Cronenberg, but that is true of the rest of the cast as well. The stilted and existential conversations between Packer and a stream of business associates (including Samantha Morton), lovers (such as Juliette Binoche), wife of convenience (Sarah Gadon) and other professionals is as cold and calculated as his business dealings, at odds with the growing anarchy outside. As something resembling the Occupy movement mounts, and threats are made against Packer’s life, Packer is duly influenced, plunging himself into a personal chaos and spiral of self-destruction. Cosmopolis is a difficult film to penetrate, but this is only partly due to the deliberate way in which it was constructed. Cronenberg treads a fine line between portraying isolation and actually detaching his film completely from audiences, but his curious mixture of sci-fi sheen with real-world problems grounds Cosmopolis in a way that a surface scan may not reveal. The implication is that the corporate disengagement from reality is partly to blame for the financial crisis, but far more fundamental is the wider apathy that has allowed this to happen.

from Empire Online (AU):

(excerpt)

Frustrations but not catastrophes, praise must go to Pattinson’s terrific performance. A magnetic, mesmerising anti-presence, the perfect redeployment of the pin-up cheekbones of the R-Pattz myth. As the camera gazes deeper into his frozen face, we detect a concerto of tiny twitches, lurking smirks and trickles of sweat — micro-fluctuations in the sanity of a man who has everything.

*NEW* "Cosmopolis" REVIEW from "NSW Law Society" ...

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from Law Society Journal

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Cronenberg not only directed but wrote the screenplay for Cosmopolis, adapting Don DeLillo’s 2003 book of the same name. Cronenberg has been busy lately. A Dangerous Method, about the relationship between Carl Jung and Sigmund Freud, has only just left our cinemas. 

DeLillo’s book also divided readers and critics. One critic found it “eerily brilliant”, others considered it a victory of style over substance. The same argument is likely over the film, but I’m on the side of eerie brilliance. 

Cronenberg took only six days to adapt the screenplay from the novel, because he found the novel’s dialogue so marvelous. He said he “started typing down all the dialogue from the book on my computer without changing or adding anything. It took me three days. When I was done, I wondered, ‘Is there enough material for a film? I think so’.”
As a result, the dialogue is very literary, not naturalistic. But it is entrancing: more akin to poetry than prose. 

It helps that Cronenberg has assembled a fascinating cast to speak this poetic dialogue. First, he recruited teen heartthrob Robert Pattinson, famous for playing a vampire in the Twilightseries of films (one every year since 2008, with one more due in 2012). Pattinson plays the lead, 28-year-old billionaire asset manager Eric Packer, who rides across New York in a limo over the course of one day in order to get his hair cut. Pattinson acquits himself very well, handling the arch dialogue with wit and precision.

A passing parade of actors encounters Packer one by one, mostly in the limo but occasionally outside. Among others, there’s his head of security (Kevin Durand), chief of technology (a twitchy Jay Baruchel), a former lover and current art adviser (Juliet Binoche), chief of theory (Samantha Morton, who has the most abstract dialogue to spout), and his obscenely wealthy wife (Sarah Gadon). Packer’s doctor even conducts daily health checks in the limo, examining his prostate while Packer simultaneously discusses the economy of China and flirts with his chief of finance (Emily Hampshire). 

As Packer moves slowly across a gridlocked city (the US President is in town), his currency analyst warns him he’s over-exposed to the Chinese yuan. In the book, nine years old now, it was the yen (how global finance has changed since 2003). His chief of security warns him of a credible threat of assassination (of Packer, not the President), and protestors crowd the streets, daubing the limo with paint. Will Packer’s impassive facade crack under such pressure? 

The answer comes in the lead-up to his tense confrontation with Paul Giamatti, playing a disgruntled former employee. It’s another brilliant performance from Giamatti, whose search for life’s meaning is the antithesis of Packer’s ruthless detachment. 

There are no answers to the global financial crisis here. That’s not so surprising given the book predated the GFC by some years. But that’s also what’s so astonishing. The book has anticipated so much of what transpired in those intervening years – even down to Rupert Murdoch’s pie in the face! And Cronenberg has managed to transform this difficult, wordy, prescient book into a vehicle as sleek and polished as a limousine.”

source: Law Society Journal via Robert Pattinson Australia