This would perfectly as a double feature with Cronenberg's Crash, both revolving on the capitalistic structures of society sucking out the emotions and empathy of the people. They sounds cold but sexy as sex and violence are the only commodities in which these rich elites can feel something. While they hide in their fancy limos, the world falls apart around them. This is entrancing cinema from start to finish. Cronenberg evolved in the 21st century unlike most directors. While he still tackles the impact of technology in our life, he helps modernize it as an evolution of form. One scene that showcases this well is the sensuality of Juliette Binoche feeling his shoes, as if she's being turned on not by Pattinson, but by his shoes, by his image, by his power.

Turned this off after 45 minutes to do something more enjoyable, like sit in a bathtub full of hard boiled shit.

— how old are you?
— 41.
— a prime number.
— but not an interesting one.

but n² + n + 41 is the most fecund prime-generating quadratic of its magnitude, and this is the most fecund film of its generation.

(‘i am your chief of theory.’)

it’s also my favourite batman movie.

‘you wanted me to be a helpless robot soldier, and all i could be was helpless.’

with every rewatch it gets closer to being my favourite of all.

An exhausting dialogue-driven film that's not only pretentious, but ends up going absolutely nowhere. Not for me, apparently. Pattinson was pretty good though.

This would perfectly as a double feature with Cronenberg's Crash, both revolving on the capitalistic structures of society sucking out the emotions and empathy of the people. They sounds cold but sexy as sex and violence are the only commodities in which these rich elites can feel something. While they hide in their fancy limos, the world falls apart around them. This is entrancing cinema from start to finish. Cronenberg evolved in the 21st century unlike most directors. While he still tackles the impact of technology in our life, he helps modernize it as an evolution of form. One scene that showcases this well is the sensuality of Juliette Binoche feeling his shoes, as if she's being turned on not by Pattinson, but by his shoes, by his image, by his power.

This drama thriller looks good, has a solid cast, has a great score and has some interesting scenes however it does a lot of talking without ever saying anything that isn't shallow dribble while also having no characters to care about which makes the plot uninteresting and the stakes meaningless.

Surprisingly “Cronenbergian”. Pretty alright but American Psycho did it a little better imo.

He needs a haircut.

Might be the most multilayered and complex film of this decade; it seems each line of dialogue, each movement of the camera, and each shift of the image is a key component to Cosmopolis' meaning and I'm fully confident admitting that there's definitely things I missed. What I can mention, with confidence, is the idea of perfection; everything needs to be without flaw, everything needs to be smooth and concise. Anything other than that manages to removes itself from the mind of Eric Packer, a man built up by old ideas that are stripped of him in the matter of hours, and his scrambling to finally understand the world around him isn't as perfect as he built it. He built the world and watched it crumble, ashes to ashes, dust to dust.

The whole movie basically takes place in the back of a limo.

I'm once again stuck between a rock and a hard place with a Cronenberg-film. I absolutely loved Robert Pattinson's performance in Good Time (2017), so I was confident he would be interesting to watch again. That being said, after spending some time in his beloved limousine with him, I'm still not sure what to really say about the character of Eric Packer - whether I liked him or not. Boy can sure talk, and rest assured; I did not follow his train of thought, exept his fear of death. Seeing as he is 28 years old, he is one year older than Patrick Bateman. What have those to gentlemen in common, you say? You've ever heard them talk?! They've just have everything under control and in perfect order, don't they?

Whoa! I do not get to see a lot of Cronenberg in the theater but this was a pleasure, even if I got to see it about a year late. The setting in the car is amazing and surreal and political and fantastic and allows for all sorts of concepts to surround and springboard of of the concept as a platform. Probably the best work I have seen by Robert Pattinson. Paul Giamatti is solid and paranoid. Juliette Binoche is a surprise addition. This is not the highest-rated work by Cronenberg, but I recall it as just barely ripped from the headlines and topical and relevant in a way that is just not usual for Cronenberg, especially for a movie as surreal as this. I would like to see it again.