Review: Cronenberg's 'Cosmopolis' is a Lot of Limo Wheel-Spinning
by Jeremy Kirk
August 24, 2012
The name David Cronenberg sends a barrage of visceral images into the mind, images of a memorable film career that injects both parts of the term "psychosexual" into each frame. He's shied from the craziness in recent years, his latest, Cosmopolis, running a different subtextual course. Based on a novel by Don DeLillo, it hits on the economy, the powers driving it, and the sheer boredom from never having to worry about the next dollar. "Boredom" is key here, because Cosmopolis, for all it's trying to say, ends up saying very little, and the limo at the forefront of film is appropriate for how much the wheels spin here. Read on!
In that limousine is Eric Packer, played by Robert Pattinson, a New York City billionaire whose one goal on this day in particular is to get across town for a haircut. The president is in town, traffic is backing up, and Eric, seemingly stuck in the car all day, continues doing business from the back seat of his state-of-the-art office on wheels. He carries out meetings with random people, his new wife and daily checkups by a physician among them. When Eric learns from his security detail that someone has threatened his life, his day begins down a course of self destruction that will likely leave Eric a ruined man by the end of the day. Any chances of a more optimistic outcome for the character never seems to be in order.
That part isn't giving too much away, as Cronenberg's foreboding atmosphere is laid on thick here. Cosmopolis, though not as viscerally exciting or a crazy as much of the director's earlier works, is excellently executed. Cronenberg does everything he can to make this limousine trip with a Manhattan billionaire as interesting as it can be. He plays up the disconnection angle, the idea that this billionaire has very little in common with the people he observes on the street and has no interest in even sharing the same street sounds with them. The limousine he rides in is not only high tech as can be with computer monitors and touch screens laid out here and there, it's absolutely soundproof, an element that adds to how unnerving it is just being in the car.
This plays out well, but Eric's disconnection from the world and people around him seems to be the extent of where DeLillo's story - Cronenberg adapted the screenplay himself - goes. There's a lot of talk about the price of the dollar and some analogies about a rat being the new form of currency. Zbigniew Herbert's poem "Report From the Besieged City" seems to have been the catalyst for DeLillo to write the novel in the first place, and the concept of the rat comes up, makes it point, then comes up time and time again for the film's 108 minutes.
That's where Cosmopolis loses its interest, when it becomes obvious that the point it's trying to get across has already been made clear. It's early in the film, and neither DeLillo nor Cronenberg appear interested in expanding on that, creating a story out of this concept that goes beyond the glazed-over looks of a wealthy businessman. The story turns violent in the back half, sometimes out of nowhere. We understand why Eric starts doing the things he does, but it ends up coming off like shock for shock's sake, nothing of the vibrancy and fullness seen in Cronenberg films as recent as 2005's A History of Violence. When events turned to the extreme in that film, you understood both the concept and the actions. With this film, we're made to believe concept is enough. It's not.
Pattinson may as well be performing in a one-man play here, an idea that could easily turn Cosmopolis to the stage. The actor does a fine job playing cold, disconnected, a look in his eye that he's checked out of the world long ago and he's waited until this day to let everyone else know about it. It's been said that Pattinson appears bored in his films, an aspect that he plays into with nearly flawless results in Cosmopolis. It may not have been a choice. There might be nothing deliberate about what he's doing here, but regardless, it works.
He's aided with commendable supporting turns by Kevin Durand, Sarah Gadon, and Julette Binoche. Samantha Morton shows up briefly and effectively as Eric's business advisor, a single scene that pretty much spells out everything else the rest of the film is trying to say. Paul Giamatti shows up late for last-minute exposition and a wrap-up that's more head-slapping than head-scratching. It's kind of a slap-then-scratch deal when it comes to the final 10-15 minutes of Cosmopolis. At that point, you're not entirely sure what's going on, and you've since stopped trying to figure it out.
Which is what makes Cosmopolis such a frustrating film. It's message is clear. What DeLillo and Cronenberg have to say about the financial situation and where it's possibly headed is as obvious as it is terrifying. The state of the dollar is something that should make a pseudo-futuristic tale of the indulgence and destruction of the ultra-rich all the more prescient. With Cosmopolis, though, the wheels continue turning, the point continues getting made, and much like the current state of the economic system, not much gets done. Hell, even the hair cut ends up being a half realized idea. Cronenberg hasn't completely lost his way here. There's still much in terms of the execution of Cosmopolis that should be applauded, but with a lack of focus on the narrative, all of the positive ends up passing by like faceless traffic.
Jeremy's Rating: 5 out of 10
I tried getting through the book twice with no success. I'll watch the movie when it's free.
Ellen C. on Aug 24, 2012
I had a similar experience with the screenplay, I just could not get passed page 30
axalon on Aug 24, 2012
is this flick came from the director who said the dark knight rises boring??? i think he should shut his mouth from now on...
safichan on Aug 24, 2012
Yeah... The Dark Knight Rises isn't boring... it's just badly scripted and plotted.
Ryderup on Aug 24, 2012
FIrstshowing should continue to release trailers and news bits but please stop presuming to "critique" films. SInce I have never read one good or interesting insight here it may very well be that your entirely commonplace "opinions" do more harm than good by giving the impression that the commonplace is all there is. This devastating notion that "its all just a matter of opinion" is deadly. If the average uninitiated and unimaginative moviegoer is incapable of getting a nut from a more difficult and complex film, why give them confirmation? Real writers are capable of bringing something to the table. I suppose you think its a good thing that you are just the same as your readers. Please consider the possibility that your incapacities to "get" a film are not the filmmakers fault. Why do you think he does not work in LA? Tossing off such commonplace evaluations may actually deprive a very important cultural figure like Cronenberg from reaching more appreciation. Allay the embarrassment that you are so naieve that you are incapable of embarrassing yourself.
Todd on Aug 24, 2012
This is a valid discussion. Even though I agree with basically everything you say, I must also confess it is the reason I come here more often than not (for trailers and news and for Opinion Pieces.) In a nutshell, almost a lot of the time I end up yelling "Damn you, Billington" on the opinion pieces more often than not but what he does is great. I also know that this review was not Alex's but still my point stands. This also is one of the few reviews here that I've read. I basically wanted to read what was made of this movie. (I think the one reading the movie review should know what one is reading.) "This devastating notion that "its all just a matter of opinion" is deadly." It actually is. Just like us initiated ones, the average ones can equally as much watch a movie and form an opinion. To argue on validity of an opinion is a paradox. But that is also why I love this medium of film. Everyone can have equally diverging and valid opinion. I'd much rather they not come to theater than walk out in the middle disturbing me, which actually happened. It was very disconcerting, as I was enjoying my ass off, their loss. "your incapacities to "get" a film are not the filmmakers fault " But I think it is the movie's fault that you wouldn't "get" a movie. But just as paradoxically, you always get "something" out of viewing it. Just as u put quotes around the word, "getting" a movie is a subjective concept, a concept of an opinion. But I agree with your point that whatever is gotten from a film needs to be discussed in reviews or critiques of the said film, which Jeremy doesn't do much, does he? I really didn't get what Jeremy got from this movie. "Allay the embarrassment that you are so naieve that you are incapable of embarrassing yourself. " That is a nice ass statement and I think your point still stands. Just because one can view a movie doesn't mean one can review it. But I doubt Jeremy is an uninitiated moviegoer or that is what he thinks. Look at all of us, we know how conceited one needs to be to have get a movie."It's message is clear " Well Jeremy what was the message? In the movie you don't even know if Giamatti does it "in" in the end. You don't think Delillo and Cronenberg's point about our whole situation is literally what happens in the movie right? But I do agree that this movie was sort of flawed in my opinion too. It was all concept, and the visualizations could have been better and the world could have gotten more of a perspective or just more of realization, and Pattinson's performance which works for very bizarre reasons other than acting.But still, the concept that was there is incredibly complex and nuanced and contextual to our contemporary times. It actually is more than enough. But I doubt people even watch movies for concepts anymore.
psyche010 on Aug 24, 2012
You missed my point Alex. I'm not attacking Jeremy, I'm calling into question the assumption that because you guys have an audiience for your movie chats you can simply segue into a posture of a critique as if it's all cool, no harm done. What you say impacts people's lives, audiences deserve some help with films like this from someone capable; the filmmakers career and hope to offer subtle sensibilities are dashed when the voices in public discourse only reiterate the obvious, that is to say, what is obvious to them. I could give you my take on the dim but the mindset around here is not conducive. That's my point. How familiar are you guys with Joseph Losey, ore Harold Pinter? I don't want discourage you guys but this is serious business, not because you cost Cronenberg box office but because you are the Limousine and security guards that prevent people from finding their souls path. Hang in there Alex but lets not stay kids all our life, eh?
Todd on Aug 26, 2012
I dont find Cosmopolis a frustrating film. It conveys a clear message of how people go through financial situation and how they head their life facing that.
lax limo on Sep 25, 2012
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