This is a Google translation for now and it's from 2 articles in Le Nouvel Observateur. I'll excerpt key parts and put the full translation after the cut.
- The film received 4 out of 5 stars noted on Allocine HERE.
- [Robert] is perfect: annoying, arrogant, talkative and charming.
- Robert Pattinson has merit. And charm. Adding that the car is pleasant, with soft lighting and bar in digital gadgets.
- [Cosmopolis is] puzzling, annoying, surprising, exciting.
- [David Cronenberg's] film is like no other, is a signature elegance, its willingness to move away from Hollywood is constant.
- Cosmopolis is the lament of the crisis.
Full translation after the cut
Google translation of the Robert Pattinson portrait which contained their review of him in Cosmopolis:
Discovered three years ago in "Twilight", Robert Pattinson, 26, is now worth $ 20 million per film. In "Cosmopolis", David Cronenberg, the new darling of women's magazines interprets a golden boy who sees his world crumble. Portrait. Thus, he is "the sexiest man in the world," the heartthrob, the Brummel of the twenty-first century? In " Cosmopolis , "Robert Pattinson plays the role of a golden boy locked in his limousine that carried, in one day, its shares tumble, that his wives leave, that New York is in turmoil and the end of the world is near. He is perfect: annoying, arrogant, talkative and charming. According to the director, David Cronenberg, who foresaw the role for Colin Farrell, "Pattinson was great. He immediately understood the character of the strata. "What strata? Like a layer cake? The film is hard to follow, the hero is to kill. Robert Pattinson has merit. And charm. Adding that the car is pleasant, with soft lighting and bar in digital gadgets.
The rest of the interview is piecing together old info about Rob's history as an actor. Click HERE if you want to read.
Google translation of Cosmopolis review:
Cronenberg brings to the screen a novel by Don DeLillo, which takes place in a luxury limousine: confusing, annoying, surprising, exciting. But, golly, how does one adapt a book by Don DeLillo? Here is an author who writes cryptic phrases, which makes up stories obscure, who sows to delight the reader into a labyrinth of words, and which removes any index. It's like being at Paris, an evening of power failure, a paraffin lamp in hand. With " Cosmopolis ", his twentieth film, David Cronenberg trying experience. The result is puzzling, annoying, surprising, exciting. As usual, the filmmaker has fun mix of violence and humor, science fiction and gives rise to sorrow, the careless and tragedy. Cronenberg is an essayist disguised as a filmmaker. His only obsession: the human condition. Much of the film is set in a luxurious limousine. Eric Packer, a golden boy millionaire, finds that his car outside New York was in turmoil. The stock market collapsed, chaos threatens, is it the Apocalypse? Packer has one goal, the fool: go to his coifeur. Way, he indulges in some fantasies with mistresses, disillusioned with the findings, to the praise of luxury watches and the bitter realization of manipulation. " Cosmopolis "is the lament of the crisis. "It's the easiest movie I've ever been given to write and shoot," says an amused David Cronenberg. Published in 2003, the book by Don DeLillo has gone relatively unnoticed: his previous novels, "Libra", "Mao II" or "Background noise" have revealed in the 1980s. Stories unstructured, formal research, examination of historical events: that which was pleasing Cronenberg, filmmaker sidelines. "The theme of Don DeLillo is the ruin of the future," he said. Indeed: in " Cosmopolis ", the writer imagines a world devastated, riddled with finance, simmering with a peasant revolt simmering. In the streets, outraged break everything, light fires, taguent cars, go after the rich. Pass the ghost of Jerome Kerviel, Warren Buffett, Bernie Madof. Cronenberg directs the film as a kind of cruel theater, with an absurd end. "The absurd is part of our lives, he said. If God exists, he has quite a sense of humor ..." The son of a Canadian publisher, David Cronenberg has always loved the mix of genre cinema and philosophy. In " Videodrome "(1982), he compared the moving image to a dangerous virus; in" Dead Zone "(1983), he observed a medium whose life was sucked into crimes; with" Naked Lunch "(1991) " Crash "(1996) or" eXistenZ "(1999), he entered into a bizarre world, made of raw fantasies, of crushed bodies, torturing illusions. "This is a continuation of this work that I shot" Cosmopolis ": I saw a perfect mapping our future." And then, during the filming, the crisis came, probably to please Cronenberg. "For the first time I shot in digital," says he, delighted. Ease of travel, ease of staging, lights dim: the HD Cinema allows a lowland. So while parading famous actors (Juliette Binoche, Samantha Morton, Mathieu Amalric, Paul Giamatti), the film he leads the viewer lost to a final confrontation, resulting in a setting of " A Streetcar Named Desire . " Two worlds collide: the smooth surfaces, brushed steel, glass, lacquer, and the disorder, old furniture, dirty shirts, peeling walls. That, ultimately, that the hero will see his sad destiny tie. The discomfort, although this is the keyword of Cronenberg film. His film is like no other, is a signature elegance, its willingness to move away from Hollywood is constant. "I want my films are like paintings of Bacon, or irritating melodies. You think, you look back, one is sure of anything, and gradually work overflowed into the street ... "Sometimes, it inserts the personal recollections in his films, before realizing, he says, that the life, "it's not a life." Or the reverse.