For a better experience on MUBI, update your browser.
Kritikeranmeldelser
Cosmopolis
David Cronenberg Canada, 2012
It now looks in retrospect like a bold and brilliant career move for the actor. It was the first in a series of challenging, serious films that Pattinson would appear in, and showed that he had genuine ambitions, as well as a deft ability to pick great directors to work with.
December 04, 2018
Læs hele artiklen
Cronenberg presents talk (great reams of the stuff) as a kind of mutual infection between emotionally incomplete monsters, trying and failing to shape the world in their image. After spending years making prestige and genre films, Cronenberg returned to the crystal waters of the wired mind-benders from his early years and found he could still swim beautifully.
September 28, 2016
Læs hele artiklen
I don’t think it’s too much of a stretch to suggest that in adapting DeLillo’s novel about the spread of finance capital, Cronenberg made a movie that’s equally about the rise of digital filmmaking. Both, after all, are mediums inherently built on dematerialisation—financial methods of wealth production don’t involve the exchange of physical goods, and DV capture is divorced from the physicality of celluloid.
June 24, 2014
Læs hele artiklen
Cronenberg’s fundamental argument, or so it seems to me, is that the entirety of existence – even acts or resistance – are predicated upon the operation of macro- and micro-systems that regiment and organize our lives. The reigning orders of technology and capital have at this point in history turned people into production line robots while unceasingly assailing them with images and information, rendering all actions meaningless.
August 30, 2013
Læs hele artiklen
Cosmopolis reflects a puzzled society in which the use of ‘exact’ terms does not guarantee communication, and in which abstraction has overridden understanding. The only thing (if anything) that endures is the sheer beauty of a language which – since it says nothing – can be uniquely enjoyed for its sound and intonation, its pure materiality.
November 01, 2012
Læs hele artiklen
Cosmopolis is a film that addresses us as non-psychological viewers, processing multiple streams of data. If the film is offputting to some, it may because it understands that we have already learned how to cordon off huge swaths of our world through abstraction, and it does not presume to teach us how to care.
October 01, 2012
Læs hele artiklen
Cronenberg is after something unique; this is not a film that lets us indulge in the usual, rather pointless schadenfreude. His subject is the speed of the 21st century—the speed of cyber-capital, of the movement from analog to digital, the infernal future that’s already here and that’s left so many behind. He does not dramatize this speed by trying to approximate it. No, Cronenberg slows us way the hell down—asks us to stay put and encircles us in that hoary old fortress called language.
October 01, 2012
Læs hele artiklen
More so than any other Cronenberg film—including the manifesto-like Play of Ideas eXistenZ—this one feels like a summing up of everything he’s been telling and showing us since the 1970s. Flesh, identity, consciousness are all prone to disintegrate or morph. By adapting a book by DeLillo, a fellow chronicler of slow-motion apocalypse, the filmmaker expands his vision to encompass a species grappling with cataclysmic change.
September 12, 2012
Læs hele artiklen
Cosmopolis’s grimness is, it turns out, an altogether apt reflection of its theme, which is the remorseless momentum of post-Berlin Wall capitalism, of a New World Order that has no symmetrical foe aside from “terrorism” and which is wedded inexorably to technologies of such seamless, speed-of-light efficiency that it promises the very transcendence of the physical, an escape from mortality itself into the dream-realm of the cybernetic.
September 12, 2012
Læs hele artiklen
A most dense work, baleful, very funny and sinuous, never afraid to excruciate its audience, a master filmmaker’s rumination on capitalism as a vision of diseased titanium.
September 04, 2012
Læs hele artiklen
Cosmopolis raises the question of abstraction—in art, in the movement of global capital—often enough that, in conjunction with the film’s single (minimalist) trajectory, the connection comes to mind.
September 01, 2012
Læs hele artiklen
David Cronenberg’s Don DeLillo adaptation is compacted and claustrophobic—verbally, structurally, visually. Working with an intentionally artificial style, Cronenberg crafts Packer’s high-tech stretch into a microcosm of the late capitalist world: a moral vacuum where everything exists only in abstract terms.
August 24, 2012
Læs hele artiklen
Seen again with a paying audience at the Walter Reade (and without the burden of expectation), “Cosmopolis” came across as a credible, intelligent, fully realized piece of work, well-acted, charged with subtext, and marred mainly by the filmmaker’s struggle to release the comic elements he found in DeLillo’s labored novel.
August 19, 2012
Læs hele artiklen
The director claimed that the screenplay was written in six days, more or less transcribing lines from the book to the screen. The problem is that the effect, as staged for the most part in a tightly enclosed space, becomes highly static, even academic. It’s a movie about ideas, but not about feelings, and while its conceptual abstractions make for some lively mind games they fail to deeply engage as cinema.
August 18, 2012
Læs hele artiklen
This dreamlike vision of a 1 percenter – or more like a one-tenth-of-1-percenter – facing moral, existential and financial meltdown is a flawed, strange and undeniably powerful creation, with a hallucinatory and apocalyptic undertow that DeLillo’s novel (to my taste) mostly lacks.
August 18, 2012
Læs hele artiklen
Cosmopolis bends itself to accommodate DeLillo. Unlike “Game 6”’s conflicting thespian modes, everyone in “Cosmopolis” pitches their performance at one-fifth the level of normal human emotion. Relatively subdued depictions of maternal exhaustion (Emily Hampshire), overworked freakouts (Philip Nozuka) and sexual abandon (Juliette Binoche) all operate in the same register.
August 17, 2012
Læs hele artiklen
What seemed promising in its declamatory abstractions turns all-too-blunt as moralistic drama. For all the big ideas and powerful forces packed into the movie’s tight spaces, the overriding tone is that of a responsible citizen’s earnest lament in the wake of economic meltdown. With its bent toward substantive critique, the movie quickly devolves to cant without rising to parody.
August 17, 2012
Læs hele artiklen
While being driven around New York, a zomboid billionaire loses a great deal and, by doing so, becomes human. It’s the end of the world, or at least one world, in a movie that’s opaque and transparent, as well as discomfortingly real, suggestively allegorical and perversely comic, never more so than during a prostate exam that — with a snap of latex and the crown of sweat that beads across Eric’s perfect alabaster head — becomes a sexualized display.
August 16, 2012
Læs hele artiklen
Packer ultimately becomes a structuring conceit; he’s not an object of sympathy, or a poster boy for godlike villainy. But as Pattinson stalks about in a slick suit, curious about testing out murder, the Marxist protester cry of a “specter” seems to take a human form, and his final interlocutor—Paul Giamatti as a coolly raving wretch hidden in a raggedy towel—seems to be a face-to-face encounter with madness.
August 15, 2012
Læs hele artiklen
Cronenberg, the great auteur of the divided self, seems to run out of fuel after that, even as the story’s structure gives him further opportunity to explore his pet themes. To the extent that Cosmopolis functions as a super-literal conceptual exercise, it’s simultaneously irritating and fascinating. But much of the film fails to function as drama and never more so than in the interminable final scene.
August 15, 2012
Læs hele artiklen
Cosmopolis—which legendary cinematographer Peter Suschitzky (The Empire Strikes Back) renders plastic and strikingly stagey—thrives on its frustrations, resulting in a drifting but occasionally unforgettable portrait of syndromes and systems in a world that wasn’t built to accommodate either. It’s Cronenberg’s most willfully weird movie since Spider.
August 14, 2012
Læs hele artiklen
Cosmopolis is almost certainly some kind of masterpiece, but I have to admit it’s probably not for everyone. Writer-director David Cronenberg’s adaptation of Don DeLillo’s 2003 novel is a formally exquisite exercise in tension — intellectual, emotional, and if you’re on the squeamish side, likely physical — that very deliberately withholds the very sort of release that 99 percent of other motion pictures are engineered to deliver.
August 14, 2012
Læs hele artiklen
Cosmopolis is a theory movie, one that’s made unusually accessible by filmmaking chops, rear-entry sex and spiky dialogue.
August 07, 2012
Læs hele artiklen
The simplicity of [the main character’s] goal and the series of obstacles that will prevent him from reaching it make Cosmopolis a perverse twist on neorealism, one concerning the exact opposite end of the class spectrum—The Bicycle Thief (1948) in reverse on chrome-rimmed wheels.
July 01, 2012
Læs hele artiklen
This weird urban voyage provokes an utter sense of deadened unreality, a consistent, minor key cynicism, desperation and pessimism pushed beyond normal dramaturgical development and instead popping out at us, like sculptures, like 3D, forceful, frank and, in the content of each speech, each interaction, confounding in this dual speaking. If you have a strange sensation while watching Cosmopolis, a dreadful remove, it’s because you are experiencing the end of the world as theory.
May 27, 2012
Læs hele artiklen
Cronenberg’s latest is uncharacteristically inert (especially when compared with his earlier inspired adaptations, 1991’s Naked Lunch and 1996’s Crash).
May 25, 2012
Læs hele artiklen
It’s an ideal match of filmmaker and material. Cronenberg has always understood the way that perfect surfaces hide uncontrollable maelstroms, and how the ruptures of said facades—caused by sexuality, biology, technology, violence or, usually, an incestuous combination of all four—offer mind-fucks of enlightenment.
May 25, 2012
Læs hele artiklen