I feel like we're a blog possessed. So many great responses to Rob's performance, we can't help but post them. This is going to operate as part 5 and possibly be the last part until US promo kicks up a new slew of reviews.
- Part 1 - "Robert Pattinson giving a commanding, sympathetic portrait!"
- Part 2 - "Sensational central performance from Robert Pattinson"
- Part 3 - Robert Pattinson is "excellent in a difficult role"
- Spoiler Post #1
- Part 4: Robert Pattinson's performance is "incredible", "riveting", "layered" and "one of the best of the year"
- Spoiler Post #2 + Tink's Review from the Toronto Premiere Viewing
- Spoiler Post #3 + Kate's Review from the Irish Press Screening
I suspect the percentage will go up and down. The film isn't certified fresh yet and it continues to receive overall mixed reviews, but we'll keep working at it. MotivationalRob said in that video we posted yesterday, "If you feel like the world has been taken away from you, figure out how to take it back." At the time, I said I didn't know what "it" meant for me. Guess it meant Rotten Tomatoes for now. LOL
Here's the latest crop of positive remarks for Rob. He's also been getting great responses from fanboys on twitter and I included a couple reviews that are from their blogs. While the film gets mixed feedback, Rob continues to get a majority of praise for his role as Eric Packer. :))
From Cinehouse (UK):
Robert Pattinson is quite astonishing in the role as Packer, he is ice cold and inhumane in the best possible and almost alien like as in David Bowie in The Man Who Fell To Earth. He perfectly captures the psychosis of a man who has everything but wants nothing except he has a death wish. The supporting cast is very fine throughout with Paul Giamatti and Juliette Bincohe as highlights.From Uptown:
I don’t think the film will have a wide audience but very Cronenberg films have one except for The Fly. Twilight fans will obviously not understand it one bit and will be turned off by which was evident in my screening I attended. Critics have been completely mixed even though a lot have praised Pattinson’s turn. I think it’s a truly fascinating but deliberately artificial film about a man’s descend into pure unadulterated nihilism but no the cheerful entertaining nihilism of Fight Club but something much more sinister. After a string of very fine films recently I think I may have found an early contender for film of the year. A lot will hate but if you can get what Cronenberg is trying to do you will be engrossed even with it's deliberately alienating cinematic devices.
In the final act, Pattinson faces off against Paul Giamatti, in a scene that is both terrifying and entertaining. It’s a lot of fun to watch these two actors trading barbs, and it brings to mind another Cronenberg film, A History of Violence, in which William Hurt faces off against Viggo Mortensen. Hurt received an Oscar nomination for the climactic scene (which lasted less than 10 minutes) and it wouldn’t be a shocker if Giamatti was recognized for his work here.From The Guardian/The Observer (4 out of 5 stars):
As played with frightening conviction by Robert Pattinson he's a Gatsby-esque figure, remote, inscrutable and doomed.From 24 frames per second:
As with most of David Cronenberg's work, there is a lot to say about Cosmopolis, but the first thing that has to be noted is the film's big shock (not in a plot sense, don't worry). I've said some very rude things about Robert Pattinson's performances in the Twilight series (and, sorry fans, I stand by every syllable), but he's revelatory here. The first point of comparison that comes to mind is Hayden Christensen's unexpectedly great performance in Shattered Glass. To begin with, Packer is something of a blank slate - this is a studied and affected pose, and Pattinson is effective playing it as such - but as the film goes on, as we penetrate the impossibly wordy and constructed dialogue, there are layers peeled back by the differences in the ways he interacts with the different people who drift through the film.From The Independent:
Paul Giamatti, who by rights ought to steal the film when he turns up, but doesn't, because he seems to power Pattinson's own performance on to ever greater heights, and that scene becomes one of the unlikeliest great acting scenes of the year. The other really outstanding moment is the most awkward lunch date I've seen in ages, in which Packer and Elise talk at each other in a series of non-sequiters, Pattinson and Gadon are both brilliant here, effortlessly communicating everything about their marriage, though the dialogue is very indirect.
What the film does explore, mesmerisingly, is the riddle of how to turn a book about a limo ride into an experience that is itself a ride – or rather a glide. Such is the film's out-and-out otherness that Robert Pattinson – who puts up a strong, wryly amused show as the savagely blank Eric – himself becomes a stylistic element among many. This is a surpassingly odd film that some will reject outright, but I was totally won over. Cosmopolis may, like Packer's limo, be an elaborately conceived but essentially vacant vehicle – yet it has a master at the wheel.MORE reviews after the cut!
From the London Standard/Evening Standard/This is London:
With the franchise drawing to a close, the 26-year-old British actor might have extended the R-Patz brand into superhero blockbusters. Yet this summer he has opted to star in a talky drama about the evils of corporate wealth and solipsism, the philosophical idea that only the self can be known to exist. Holy metaphysics! It’s hard not to admire his pluck. Playing a billionaire who takes a leap into the abyss, he’s putting his money where his mouth is.From The Cult Den:
Pattinson has always been a fantastically adequate presence at the movies. Before now, he has been called upon mostly to brood. And to take off his shirt. There is much more to do here, however, and he is very good in some of the scenes — saucily stressed during a prostate examination, boyishly relaxed with his female bodyguard (Patricia McKenzie).
In a real game changing role, Pattinson delivers his most accomplished and assured performance to date. Anchoring the film with meticulous poise and charisma, his thoroughly engaging protagonist here may finally put the doubters to rest in regards his acting abilities.
Cronenberg certainly hasn’t opted for the ‘hack and slash’ approach here either in his interpretation of Delillo’s work. The tongue twisting lengthy segments of dialogue literally torn from the pages are daringly faithful. The uninitiated perhaps will be left dumbfounded by the bamboozling of such intelligent jargon, others will find it refreshing and mesmerising. Whilst his directorial style remains intimate and precise, he certainly doesn’t shy away from the visual metaphors either. A particular highlight involving Pattinson facing up to Paul Giamatti’s antagonist Benno Levin, framed exquisitely within a wide angle shot emphasising the ever growing class divide between the rich and a disgruntled working class.
From MoviesReview who gave the film 3 out of 5 stars. I found her comment strange about Rob having Cosmopolis during summer blockbuster season. Um...he doesn't choose the release dates.
The press the film has received, despite having a director as well-known and interesting as Cronenberg, has inevitably focused on Pattinson. With Twilight coming to an end this year, the pressure is on for the actor to find his niche outside of sparkly vampire Goth-porn. That might be a little harsh, but the franchise has never seemed to push the actor to his full ability, and Cosmopolis marks a smart and welcome change for the actor to embrace. With this material, there are moments where he struggles to convey the depth of emotion required, but he pulls it out of the bag when it’s really needed, and carries the film on his shoulders for the entire running time.
Cosmopolis was always going to be a hard sell, but those that find it will probably buy into the philosophical contemplations it deals in. It’s an odd film for Pattinson to do in summer blockbuster season (where beau Kristen Stewart is thriving), but might just save his career from becoming depressingly diminished post-2012. There are some gems of easily grasped sense hiding underneath the solemn and tangled discussions, so it could in theory reach an audience wider than its arthouse demographic, but the fact that it probably won’t shouldn’t put anyone off. Cronenberg is considered one of the masters of cinema, and his choice of leading man just adds to the loopiness of it all.From A Higher Frame Rate:
Pattinson is the core of the film. Everything revolves around his character so this casting was critical. He works in the role; he’s loquacious, narcissistic and carries a devious intelligence that belies his age but not his power. Dialogue is delivered well and it’s a fascinating script, even if at times it’s a bit of struggle to fully grasp. However it gets easier once we’ve settled into the cadence of DeLillo’s language and Pattinson’s delivery and there are some intriguing discussions. The one that particularly stands out (essentially every scene amounts to a conversation with someone who appears for only one scene, with one or two exceptions) involves Paul Giamatti, who does a fantastic job and there’s great vocal sparring between the pair.