1000000x better when paul giamatti shows up, however
In the spirit of full disclosure, I’d like to mention that I am not very familiar with Don Delillo's work. I have read "White Noise" years ago and ever since then I have not been able to justify to myself sparing the time to read any more of him, in the way that I can for example spare the time to watch David Cronenberg movies or watch the squirrels fight in my backyard. Before finding out that the movie was based on a novel, I assumed that it was scripted by provoking some crazy homeless guy into a drug-fueled street-corner rant and then writing it all down while trying not to get pissed on. Since I don’t want to be all negative, I would like to comment on Robert Pattinson's performance: I have often seen better Christopher Walken impressions but I have never seen one that lasted longer. I am pretty sure that I can eventually grow to love this movie, especially if all the other movies in the world disappear or the squirrels start getting along.
Cronenberg knows quirky, hell he is the quirk quotient in the DNA of kooky auteurs. He wields the cinematic language with brazen attitude and incalculable risks, fathering many cult classics from Scanners and Videodrome to Naked Lunch and Crash. These are memorable, bold ventures that live and breathe out loud. We celebrate his crass chutzpah against the rage of the Hollywood machine but this time he made a stinky.
An study in power and alienation. It works on the level of peering into a world thatr most of us never see. Some people actually live their lives this way, and that is very heavy, as is the imagery displayed within the movie as well as the premise of the effect that it would have on a 1%-er. This alone brings the movie to the standard of a great film even with the hollow characters, which work to build the tense feel
"Polonyalı şair Zbigniew Herbert’in “Bir sıçan para birimine dönüştü” dizesiyle başlayan romanda, postmodern varoluşun temel simgesi olan kapitalizm de epeyce yer ediniyor. Kapitalist sistemde en tepede yer alan Eric ile limuzinin dışındaki ‘sıçanlar’ arasında kalın zırhlı siyah camlar var. Mesele paranın değil, insanın sıçana dönüşmesidir." http://filmonerisi.blogspot.com/2013/05/cosmopolis.html
"Eric Packer, de manera ocasional o planeada, se reúne con una serie de personajes quienes dan entrada a los razonamientos sobre el futuro autodestructivo, la tecnología errónea, el existencialismo frustrado, el goce sexual en sus distintas formas y maneras, la violencia innata, la deconstrucción de los conceptos..." http://bit.ly/ZgEd36
Better than its reception, but no where was great as Cronenberg's classics. The cynicism is palpable, its satire is brutal, and the acting is wonderfully cold all the away around. My biggest issue with it though is that its such a conservative adaption and Cronenberg didn't add much visually. I honestly would like someone else to try to adapt, possibly me. Only I should've adapted this. I would have done it better!
Fuck! A vision of America even darker and bleaker than Killing Them Softly. It is also more on point. A beautifully conceived critique of the upperclass (that doesn't excuse anyone which I love), as well as the nature of capitalism, money, and apathy in the wealthy. I loved it. Cronenberg's most ambitious and interesting film since eXistenZ. I loved that almost nothing actually happened and so much did.
I don't know if Don DeLillo should feel flattered or embarrassed that David Cronenberg literally took a highlighter to most of the dialogue in his novel "Cosmopolis" and then called it a 'screenplay.' Granted, Cronenberg's slavishness to the text wouldn't have been an issue if the movie didn't feel so tonally off-point from DeLillo's work. A slew of misjudged performances, with Robert Pattinson being the worst offender, and intermittently shoddy digital photography also conspire against "Cosmopolis." As a longtime fan of Cronenberg, I must confess this feels like one of his first genuine misfires.
I heard DeLillo and two actors perform a section from the book when it came out (at the Steppenwolf in Chicago) and ... all three delivered it in ways pretty consistent with the actors in the film. I guess what I'm saying is: I think all involved deserve pretty much equal blame. Which I find to be quite the bummer.
thought there was something a bit off about it initially. seeing it again showed this to be an audacious piece of cinema. there's something deeply uncomfortable about the removal of DeLillo's dialogue from its literary context. but it's Cronenberg's incredible, understated cinematic work with this material's unsuited rhythm and dynamic that makes this as interesting as it is. DeLillo done justice, in some weird way.