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You know, the Robert Pattinson bus stop #Cannes2015

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Though we did not post the illustration when The New Yorker did their review of the film, we did have a link to the review amongst “Cosmopolis” reviews in our master post. Haven’t read them, yet? CLICK HERE!

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Cosmopolis
R 2012 ‧ Drama film/Thriller ‧ 1h 49m
Director: David Cronenberg
Budget: 20.5 million USD

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WARNING, THE FOLLOWING REVIEWS MAY CONTAIN SPOILERS!

Due to the growing and extensive list, please see all the good, bad, ugly and fan reviews after the jump!

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Hollywood really hasn’t changed much since David Cronenberg started making movies, and neither has the importance of choosing the right actors.

“It’s a matter of intuition,” says the Canadian director, 71, whose Maps to the Stars is in theaters Friday. “Casting is a kind of black art — it’s pretty invisible to most people. But it’s hugely important because if you cast the film right, you can do minimal directing and if you cast it wrong you can destroy the movie irreparably.”

Whether it’s for his dark comedy Maps, which centers on a family and others in Los Angeles willing to go to extremes to maintain their celebrity, or Cronenberg’s early horror films in the 1970s such as Shivers, Rabid and The Brood, doing homework on a potential star is where it all starts.

“It gives you an idea of what their taste is in movies and how edgy they’re willing to be,” Cronenberg says. “These days, strangely enough, YouTube is extremely valuable for a director. You look at interviews that the actor’s done. You get a feel for what they’re like when they’re not playing a role in a film.

“By the time you meet that actor or speak to them over the telephone, you really have a very good feel for them.”

Cosmopolis (2012)

As a rich young man in a dramatic limo drive to get a haircut, Robert Pattinson is in every scene of Cosmopolis. To pull that off, “You need someone who has the charisma to hold the audience and who also has the acting chops to do the same thing. I thought that Rob had that,” says Cronenberg, who liked Pattinson’s brief appearance in 2005’sHarry Potter and the Goblet of Fire.

More important than having a legion of followers, though, is that the Twilight actor (who also stars in Maps to the Stars) is a professional and sweet guy who’s extremely knowledgeable about cinema. “I don’t think his fans know that about him,” Cronenberg says. “I would often find him talking to Juliette Binoche about obscure French art films.”

To read the full article, CLICK HERE!

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AVC: In that regard, do you think that changed how Maps was made?

DC: Some people think Maps came from [the film’s screenwriter] Bruce [Wagner]’s Dead Stars, as that book does deal more with that reality—Twitter, Facebook. I don’t think [social media] plays very strongly in this film, but I do think in our current times it does. Bruce said at Cannes: “Andy Warhol said ‘In the future people will be famous for 15 minutes.’ Now everybody is famous all the time.” You’re the star of your Twitter feed, your Facebook and Instagram accounts. At the same time, the microscopic observation of celebrities has come to a point that was unthinkable years ago. You can download videos and photos of celebrities and mark them up, and say: “Here’s where she had work done.” When I was doing Cosmopolis, there were a couple of websites devoted to Rob Pattinson. Everyday they would post shots taken from cellphones of him on set, constantly monitoring him. This is different from before. Of course, there were always magazines devoted to stars, but it’s now intensified: This intimate connection between individuals and stars is not mediated by magazines, editors, and professionals. So with Maps, it’s about celebrity, but we don’t have scenes with paparazzi or on the red carpet. It’s more behind the scenes and the minds of the people involved.

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