Cosmopolis as well as Cronenberg, Pattinson, Gadon and Morton nominated for Vancouver Critics Awards + MORE LISTS

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Cosmopolis continues to impress at year-end. First up are nominations for the Vancouver Critics Awards. Excerpt from The Province:

Director Steven Spielberg’s political backroom history tale Lincoln and David Cronenberg’s New York limo odyssey Cosmopolis have emerged as this year’s front-runners as the Vancouver Film Critics Circle narrowed its short list for the year’s best international and Canadian movies.

Lincoln is leading the critics’ international category with five nominations: best picture, best director, best actor for Daniel Day-Lewis as the U.S. Civil War president, best supporting actor for Tommy Lee Jones as a pro-civil rights legislator, and best screenplay for scribe Tony Kushner.

Canadian director Cronenberg’s Cosmopolis leads the home-grown competition with four nominations: best Canadian film, best director, best actor for Robert Pattinson, and two best supporting actress nominations, for Sarah Gadon and Samantha Morton.

The Vancouver critics, drawn from radio, TV, newspaper and online outlets, hand out their awards Jan. 7.

The Best Of lists haven’t stopped either!

  • The Film Stage: One of the Best Ensembles of 2012 – It’s not enough that Robert Pattinson proves his genuine acting chops with David Cronenberg‘s latest, but he’s also surrounded by one of the most versatile ensembles of the year in this story of a man and one wild mission to get a hair-cut. Whether they are popping in and out of his limousine or showing up elsewhere on Pattinson’s journey, the group comprised of Juliette Binoche, Sarah Gadon, Mathieu Amalric, Jay Baruchel, Kevin Durand, K’naan, Emily Hampshire and Samantha Morton each provide memorable insight to Pattinson’s dense lifestyle. Capping off with one of Paul Giamatti’s best turns in some time, this is one of the strongest ensembles of the year.
  • The London Film Review: Number 1 out of 10 most overlooked films of 2012! Click HERE to read their comments on why Cosmopolis was number 1 and why it shouldn’t even be on that list. 🙂
  • Dread Central – Named Cosmopolis among the top 5 Best of 2012 – David Cronenberg’s misunderstood character study shows us how the 1% can be the most dangerous creatures of all. Robert Pattinson finally breaks away from those godawful Twilight movies, giving a powerhouse performance as a sociopathic Wall Street tycoon who is truly off his rocker. It’s a claustrophic head journey through a class-warfare apocalypse and a step back in the right direction for one of this genre’s greatest visionaries.
  • 24fps: David Cronenberg named Best Director and Pattinson, Best Actor – David Cronenberg has been one of my favourite filmmakers for about twenty years, and this year he served up both his worst and his best film for many  years.  A Dangerous Method was a personality-free disaster, but Cosmopolis, despite its largely constrained environment (most of the film takes place in the back of a limo), pulsed with energy, contemporary relevance, and customary Cronenbergian themes and wit.  There are layers upon layers here, both in Cronenberg’s own talky, challenging, and very funny script and in the visuals which give us a sense of how dislocated and insulated from the world Robert Pattinson’s billionaire character is.  Cronenberg also marshals a large cast of actors capably, and manages to draw a throughline in a film that could easily just be a series of disjointed scenes.  It’s his most interesting, and, I suspect, most personal film in at least 15 years….If you had told me at the beginning of this year that I’d ever write Robert Pattinson’s name under Best anything (except perhaps ‘forgotten’), I’d have laughed in your face for minutes on end – especially after I’d seen Bel Ami – but Cosmopolis proves that behind the vacancy of Edward Cullen lurks a much darker side, and a surprising, intelligent, actor.  Pattinson’s Eric Packer is more a vampire than his Twilight character; feeding off the lifeblood of the world, but hiding from its light in a coffin like limo.  There’s a sense of total dislocation from the world and from people, reflected in Cronenberg’s imagery, but very present in Pattinson’s work.  However, there’s complexity too; an evolution scene by scene as Packer trashes his own life bit by bit, coming closer to engaging in the world as he does so.  It’s the slow cracking of that mask that is so remarkable in Pattinson’s performance.  I just hope that – unlike Hayden Christensen after Shattered Glass – Pattinson seeks out more challenging work, because here he’s a revelation.
  • Film School Rejects: 3 out of 12 best movie soundtracks and scores of 2012 – David Cronenberg’s films can be a bit of a trip, full of odd imagery and interesting questions, butCosmopolis also turned to music and sound to drive the story as much as any of the curious characters that populated the film. Composer Howard Shore teamed up with the band Metric to create a kinetic, cutting edge score that is also haunting, mirroring the disenchanted life of the film’s lead, rich kid Eric Packer (Robert Pattinson.) More than simply creating music that became a character in its own right within the film, Shore and Metric proved that classic composers and rock bands can (and should) come together to create music that is not only interesting, but also thought provoking.
  • Huffington Post: Number 2 out of 10 – Cosmopolis exposes most millennial concerns of identity, apathy, physical vs. meta value, telecommunications and sexual dissatisfaction during a 24-hour traffic jam created by three equal physical events: the arrival of the president into a city, an Occupy Wall Street-esque protest and the funeral procession for a recently deceased celebrity. Eric Parker (Robert Pattinson) is in a traveling wi-fi hotspot: his limousine. He is the creator of a financial analysis system that traces monetary rate movements by fractions of fractions of a second, these fractions make Parker rich and most likely the cause of a pre-reactionary panic that causes economic collapses. At 28, he’s old at this game now, and thus in a state of deep reflection. Because the dialogue is mostly lifted directly from Don DeLillo’s highly literate source material, Cosmopolis has a lot of ideas, only a fraction of which might register on first viewing. But because it’s DeLillo, it is also very funny. And because it’s directed by David Cronenberg, every limo stop feels threatening; both Cronenberg and the cast (particularly Sarah Gadon as Parker’s old-money wife and Kevin Durand as his security) understand that DeLillo’s satire is best served in monotone.
  • Badass Digest: 3 out of 10 underrated movies of 2012 – I never reviewed Cosmopolis. I keep wrestling with it – I still am wrestling with – but it’s that wrestling which convinces me the film is something more than a misstep from Cronenberg. The parts of the movie that work are so mesmerizing, so fascinating, so strange and so surreally interesting that they’re worth engaging completely. The other parts… well, the movie goes off the rails, that’s for sure. And even the parts that are on the rails can be quite polarizing, with an ugly, flat, green screened look alienating people immediately. The movie is not Cronenberg’s best looking, and the script is very theatrical, and the performances are almost impossibly mannered – but those are all plusses. This is a weird film, a film that refuses to meet you anywhere near halfway. If you’re willing to go all the way to Cosmopolis‘ side, you’ll be rewarded.
  • Film News (UK): Placing 4th out of 10 – At four is Cosmopolis, which saw a predatory Robert Pattinson play a billionaire financier in David Cronenberg’s film noir. Pattinson later credited the film with pulling him from a spiral of depression which threatened to stall his post-Twilight career.
  • Buzzine: 1 of the top 5 Indie movies of 2012 – If you’ve learned anything from David Cronenberg at all, you should know to never have expectations. If you, for instance, believed Cosmopolis, (adapted from the Don DeLillo novel) would be in the same vein of his now iconic body horror fare, you would be so very wrong. Reading much like a play, where characters stare off into space and seem to be speaking in riddles, Cosmopolis’ stark tones and direction fuse with a surprisingly confident performance fromTwilight’s vampiric hunk Robert Pattinson to create yet another intriguing controversial masterpiece from the iconic Cronenberg. 
  • TV without Pity: On a list of best films you may have missed – David Cronenberg and Robert Pattinson may seem like an unlikely team, but they each benefitted from their partnership. Pattinson got some much-needed acting cred for his darkly funny performance as a Master of the Universe who embarks on a surrealistic journey through the streets of New York, while Cronenberg was able to use his star’s box-office power to make this challenging movie his way — Cosmopolis features some of the most stylish and inventive direction of his career. Considering how well this movie worked out, we wouldn’t object to a Cronenberg and Pattinson reunion.
  • Online Film Critics Society: Cosmopolis nominated for Best Adapted Screenplay
  • MSN Movies: Cosmopolis ranked 6 out of 10 best of 2012
  • Chicago Reader: Cosmopolis ranked 10 out of 10 best of 2012

Another year-end montage of films and Cosmopolis is included in this great mashup by Cinescape.

You can pre-order Cosmopolis for Jan 1st US release or view NOW on Amazon | iTunes | Walmart

 

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This also. Kevin Durand is a favorite unconventional performance for 2012 in Cosmopolis as Torval!

Indiewire named their favorite unconventional performances from their critics poll for 2012 and look who popped up!

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Kevin Durand, “Cosmopolis”
Selected byJohn Lichman

Speaking of movies that destroy New York City: as the star of both the film and the marketing campaign in advance of its release, Robert Pattinson got plenty of attention as Eric Packer, the young billionaire holed up in his protective, high tech limo. (If you don’t believe me, just look at all the R-Patz dedicated Twitter accounts that shared our Best Performance results yesterday.) Amidst an ensemble that picked up votes for Paul Giamatti, Juliette Binoche, Samantha Morton, Sarah Gadon and Mathieu Amalric, one character stood out as a little peculiar. Durand (Keamy from “Lost,” anyone?) plays Packer’s personal bodyguard, occasionally updating his wealthy employer on traffic conditions and impending threat levels. It’s not an obvious choice to put him ahead of the others, but Durand really does embrace the inherently unnatural dialogue that David Cronenberg spreads throughout his adaptation. Like everything else in this dystopian Manhattan, reality is just another lofty concept that people are struggling to grasp. Why not call attention to it?

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It Charts! ‘Cosmopolis’ continues to park the limo on Best Of lists for 2012! “A ride that should be taken”

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We can’t get enough of this! People continue to post about their appreciation for Cosmopolis and ranking the film in their end-of-the-year lists.

  • Cinemart: Number 1 Film of 2012!Cosmopolis is as talky as screwball comedy and as visually wild as only cinema can be…A truly special work that demands you pay attention all the way, this one will stick in your head for weeks.”
  • Cinemablend: 10 out of 10 top films of 2012: “To get across a story of a man so wealthy he feels above everyone and everything, Cronenberg made his movie revolting, and in doing so delivered a more fascinating and bolder political message about the age of Operation Wall Street than any other filmmaker has yet dared.”
  • Movie Maker: 9 out of 12 best of 2012: “Producing an outstanding interpretation with R-Patz laying waste to the doubters, Cosmopolis showed no restraint in taking pot shots at the current climate. Eric Packer more fussed about haircuts and money than the president being in town.. Superficial nonsense taking centre stage rather than the ’important’ issues in the media? Abstract yet mesmerising.”
  • Cinemablend: 1 of the 12 most unfairly overlooked films of 2012: “David Cronenberg’s truly bizarre, alienating film isn’t for everyone, but its pitiful $763,000 box office take is proof that even the art house crowds who would embrace it haven’t bothered to see it. Give it a shot for the sake of seeing Robert Pattinson put his vampire blankness to good use, for surreal moments of random violence, for the most uncomfortable prostate exam ever put to film (is there such a thing as a comfortable one?)”
  • Yuppee Mag: 10 out of 10 top films of 2012: “Cronenberg has created a work of pure postmodern beauty. It’s not an easy ride but its one that should certainly be taken.”
  • Flavorwire: 27 out of 30 for best movie poster 2012: “Elegant and dangerous. The art encapsulates everything about David Cronenberg’s brooding drama.”
  • L Magazine: 4 out of 25 best films of 2012: “Cronenberg’s first comedy is his best film, and also his worst. He is working at his peak with the sound design, score, abstract humor and prescient themes (when big money, big art, arch DeLillo dialogue and other patriarchal glories have suddenly lost their relevancy). Then Paul Giamatti hams it up in the last scene and ruins everything.”
  • Some Came Running: 6 out of 25 best films of 2012

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INTERVIEWS: David Cronenberg talks in detail about Cosmopolis humor, the art of cinema, visiting the NYSE and MORE

Two great interviews from David Cronenberg talking in detail about Cosmopolis. The film is available On Demand NOW from Amazon, iTunes and Walmart. Links are located at the top of the side bar. Also check your cable listings under new releases and foreign films. US Bluray/DVD release is Jan. 1st, link also located on the side bar for pre-order.

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The first interview is from Some Came Running:

   SCR: Watching the film, it kind of struck me as funny that it took you and Don DeLillo so long to come together because there seemed to be so many very distinct affinities, particularly with the way you both use language.  I wondered if you could talk about coming to this text and deciding that you were right to adapt it.

CRONENBERG:  Sure.  Well, I had read quite a few things of Don’s and I did know for example that his epic,Underworld, had been bought, I think, by Scott Rudin and then never made.  And that doesn’t surprise me, because it’s—you know, you can make about 10 movies from that book.  So I guess it’s really a question of which project, you know.  And I hadn’t actually read Cosmopolis, or even heard of it for some reason, when Paulo Branco the Portuguese producer, very experienced, he’s done about 300 movies I think, came to Toronto and said, I have the rights to this book, I’m in touch with Don DeLillo and I think you should direct this.  And so really it was—when I read it, yeah, it was love at first sight.  I thought, I really need to—what I’m going to do is I’m going to see if—I’m going to do a sort of preliminary kind of rough screenplay from this book to see if I think it really is a movie.  Because there is a lot in the book and in all of Don’s writing that is not directly, you know, translatable to cinema.  And that’s the case with most novels.  People say to me, why do you end up doing these unfilmable novels?  And I say, oh, really, all novels are unfilmable in essence, because the two art forms are really quite different.  And there are so many things you can do in a novel that you simply can’t do in movies and vice versa.  And that was true of Cosmopolis.  There’s so much that’s interior and metaphysical and metaphorical and all of that.  So I wanted to see if there was a movie in there and I wrote—it was the dialogue, exactly, that was the key to me.  And I transcribed all the dialogue, just on its own, and put it into script form.  And said to myself, OK, is this a movie?  And I thought, yeah, it is a movie and in fact it’s a movie I really want to make.  And it really literally took me only 6 days to write the screenplay.

   SCR:  I think people make a similar misapprehension about your work as they do with DeLillo’s; is they don’t see the comic aspect of the language, this baroque deadpan.

     CRONENBERG:  Yeah.  It’s true.  I mean a lot of the reviews of the movie even were very solemn.  And I thought, well, there are a lot of laughs in the book and the movie, and why aren’t they seeing that?  Or responding to it at least.  And of course, if you don’t do that, then your perception of the movie is going to be quite distorted, I think.

   SCR:  And it gets even more heightened at the end too, where the combination of your visuals and the dialogue really catapult you into Burroughs territory.  And I always thought in DeLillo’s work such as Great Jones Street there’s this streak of a Burroughs-type consciousness that is not his but that kind of enters from without and comments on what’s going on.

     CRONENBERG:  Well, and of course Burroughs was incredibly accurate with his dialogue in a similar way to Don.  That is to say, it is stylized but it’s also real.  It really nails some—the realities of American speech and the mentality that’s behind that speech as well.  So it can be quite devastatingly funny in a satirical say as well.

Click HERE to continue reading! David mentions his visit with Rob to the New York Stock Exchange, filming NYC in Toronto and more!

The second interview is from First Post and he continues discussion about the dialogue and mentions choosing Robert Pattinson for Eric Packer:

It’s interesting you say that because you once even said in an interview, “To me dialogue is cinema”, and generally, not many filmmakers hold dialogue in high regard.

Well, yeah, I think, you know, cinema is about the human condition, really, and so much of the human condition exists as words, as conversation and as dialogue. I mean, you don’t have culture and you don’t have human society without words of some kind, and without human communication. And human condition by words gives you an abstraction. So I know that it’s easy to think of cinema as being essentially action or visual and it’s a common misconception that it is action of a very crude, physical kind, but, in my experience of cinema, (chuckles) over 65 years of it, I feel that without dialogue, without words, without conversation, without this talking, and without the human face – because I think the thing we photograph most as filmmakers is the human face – in particular, cinema wouldn’t be cinema.

A lot has been said about your unconventional choice of Robert Pattinson for the lead role.

The thing I liked about Rob Pattinson as an actor is that he’s a serious actor. And you could lose sight of that, because he’s had this big popular success with the Twilight movies, but he is not afraid to play a character who is difficult to like, you know, because some actors are afraid to do that, because they feel it is too personal, that they themselves will not be liked by their audience, and so on. But a real actor is not afraid to play an unsympathetic character, and Rob is a real actor.

Also, I think to be an actor, you need intelligence, first of all. For example, Rob immediately realised that the script was quite funny, and most people don’t get that. Then you want sensitivity to the subtleties of the movie, in terms of what is going on in the movie, the dialogue and so on. And Rob, personally, is very knowledgeable about cinema.

(chuckles) I don’t think his Twilight fans realise this about him, but he’s really an aficionado about art cinema. I mean, on the set I’d find him talking to Juliette Binoche about obscure French cinema, (chuckles) so you know, he brings a real depth of understanding of the history and art of cinema and all of those things mean that you have a lot of power and a lot of responsiveness from your actor as a director. It’s like driving the Ferrari instead of driving, you know, a Volkwagen Beetle. And you get that with Rob. I must also add, he’s very down to earth and very easy to work with. He’s not diva at all, you know. He’s really a sweetheart.

Click HERE to read the entire interview! David adds more thoughts on dialogue, Eric Packer as a character and more!

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Cosmopolis in Top 10 for Best Ensemble + Placement in Best Film, Director, Performances and MORE

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Indiewire’s 7th Annual Year-End Critics Poll definitely gave us something to toot the limo horn about. Check out all the rankings for Cosmopolis, the highest honor being for Best Ensemble. Congrats to David Cronenberg and his cast and crew!

The film also made a few more lists since we last posted:

  • IFC: The Independent Film Channel named Unforgettable Movie Moments of 2012 and Cosmopolis made their cut: Eric Parker (Robert Pattinson) travels through Manhattan in his tricked-out limo in “Cosmopolis.”
  • Icon Film Distribution: Australian distributors named the Top 10 Actors of 2012 and Robert Pattinson was included as Eric Packer.
  • Chicagoist: Naming the top 10 films of 2012: Cosmopolis (directed by David Cronenberg, 2012) The old, weird, paranoid Cronenberg is back. With a vengeance, typified by a thoroughly offputting scene where Robert Pattinson’s reclusive billionaire undergoes another one of his daily medical exams. He points out a weird spot on his skin, and asks the physician, “What do we do about this?” The physician benignly replies, “Let it express itself.” Thank goodness for home video, where peculiar movies like this can bubble up to the surface again. -Rob Christopher

Cosmopolis is available NOW HERE & HERE!

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Cosmopolis beating Les Misérables and The Avengers? Find out on which Best of 2012 list and see more rankings!

Cosmopolis may not have made a run for award season but that hasn’t stopped it from being recognized as one of 2012’s best films on several lists. Here are a few more!

And what of this news that Cosmopolis is beating Les Misérables and The Avengers on a list? CriticsTop10 keeps a list of the lists – which films are ranking in the Best Of lists and how many top spots they earn. Cosmopolis is 22 out of 25 films on the list! Congratulations to all the filmmakers, cast, crew and fans!

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Cosmopolis “has more to say—and to mull over—than maybe 100 movies.” Another Best Of 2012 List!

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Slate Magazine named their top 25 films of 2012 and Cosmopolis came in at number 13!

13. Cosmopolis. In the end, it’s mere gravy that David Cronenberg’s Cosmopolis unfolds in a world that eerily, and almost blatantly, reflects our modern headlines, its Occupy themes and global-capital woes perpetually looming. What’s truly depicted in this gorgeous adaptation of Don DeLillo’s prescient 2003 novel is the whittling down of the poster boy of individual, millennial anxieties, sparked by the deadly, rampant elixir of privilege, apathy, and telecommuting. From his rolling command center of a white limousine, the WiFi hot spot of the obscenely rich, billionaire Eric Packer (a revelatory Robert Pattinson) is at once linked up to the world and maddeningly removed from it, his personal, untried revolving door granting equal access to wisdom and delusion, personified by the limo’s parade of guests. Evoking its director’s past aesthetics and bodily interests with cool restraint, Cosmopolis is a wry, stylish nightmare of contemporary disconnect, and an audacious charting of all that crumbles when reality seeps in. With much dialogue lifted verbatim from DeLillo’s text, the film’s dizzying verbosity may be challenging to swallow, but in a cinematic year teeming with lone protagonists clawing for ways to survive, it has more to say—and to mull over—than maybe 100 movies.

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Cosmopolis one of the most overlooked films of 2012: “It’s only grown more valuable over time”

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The Film Stage included Cosmopolis in its 2012 list of most overlooked films. I like how the author of the write up was a few rewordings shy of suggesting to let the film express itself for viewers. 😉

This one’s been stewing in my brain for months, and none of the reflection has tainted this film one bit; if anything, it’s only grown more valuable over time. David Cronenberg’s limousine trip into the damaged perspective of a young, emotionally hollow fat cat — played to perfection by a not-as-advertised Robert Pattinson — can’t really be considered the most accessible work of 2012, but those willing to go with its strange rhythms and mysterious internal logic are bound to get… something. While I think it’s best people make the thing out for themselves by just letting it all sit, those simply hoping for a left-of-center cinematic experience ought to find themselves more than pleased. And that’s without even considering the incredible music of Howard Shore &Metric. – Nick N.

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Cosmopolis makes year-end lists for Moviefone and Criterion Corner: “Tremendously rewarding”

Cosmopolis continues to be recognized as a 2012 best in film!

Moviefone wrote a great piece on the film for their 10 Best Films You Didn’t See in 2012 list:

There seemed to be a little juice behind Canadian director David Cronenberg’s latest effort, a wonderfully meandering adaptation of Dom DeLillo’s novel of the same name that charts a single, seemingly endless limousine ride. For one, the film premiered at Cannes, to mostly ecstatic audiences (full disclosure: I was in one of them), and for another, Cronenberg loaded his bizarre contraption with a secret weapon: Robert Pattinson. As a disaffected billionaire, Pattinson showed unheard of gravitas and wit, both of which were sorely missing during his five-movie tenure as sparkly vampire Edward in the “Twilight” movies. But not even his handsome or borderline hieroglyphic face, could get people to come out to “Cosmopolis.” Granted, the movie is pretty weird. But it’s also tremendously rewarding — it works its hooks into you and, months after seeing it, I still can’t stop thinking about it. It’s also part of 2012’s great limousine ride double feature, along with Leos Carax’s equally strange “Holy Motors.” The mini-bar optional.

Many people might have missed Cosmopolis but Criterion Corner didn’t miss it. They added their film to their video mashup of Top 25 Films of 2012:

Thanks for the heads up, didi!

Check out the sidebar to pre-order your copy of Cosmopolis, released on Jan. 1 in the US and available now in the UK!

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‘Cosmopolis’ selected as a 2012 TIFF Top Ten Canadian Film

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More great news for David Cronenberg’s ‘Cosmopolis’! TIFF announced their Top Ten features in Canadian Film for 2012 and our favourite movie about limos and haircuts made the grade. 😉

From Tiff.net

Arriving in the wake of the Occupy movements and the recent financial collapse, David Cronenberg’s stylish and incredibly timely adaptation of Don DeLillo’s apocalyptic satire follows a billionaire financier (Robert Pattinson) as he creeps across an imploding New York City in a limo, his life of absurd luxury collapsing around him. It’s a scenario geared expressly toward Cronenberg’s sensibilities, playing out like Videodrome — or, as The New Yorker argued, Crash — transplanted to the increasingly endangered world of the one per cent. Boasting the hippest cast of any Canadian film this year, Cosmopolis also stars Sarah Gadon (A Dangerous Method, Antiviral), Jay Baruchel (Goon, Tropic Thunder), Emily Hampshire (The Trotsky, My Awkward Sexual Adventure) and imports Paul Giamatti, Juliette Binoche and Samantha Morton.

Canada’s Top Ten Panelist Rationales:

“In the cocoon of his limousine, a gazillionaire creeps across the city, searching for amusement and a haircut. The slow burn of David Cronenberg’s Cosmopolis is initially unsettling (when is something going to happen?) but becomes delirious as the car crawls along through a society that seems to be collapsing in on itself. Appropriately chilling.” — Matt Galloway, radio host (CBC’s Metro Morning)

“Canada’s pre-eminent director never fails to excite the senses. In Cosmopolis, David Cronenberg transcribes Don DeLillo’s indictment of financial hubris run amok into a technically precise, claustrophobic metaphor for a financial system torn apart from within. Typically, bodily functions play a key role. And who better to represent this rapacious greed, hoist with its own voracious folly, than the affectless Robert Pattinson, an actor popular culture has chosen as the object of millions of teenaged girls’ desire.” — Paul Ennis, Associate Editor (TheWholeNote.com), film and music critic, programmer

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