Cosmopolis: Review By Zak Lee Ferguson

Cosmopolis is exceedingly complicated, exceedingly contrasted, madcap- intellectual, reverting, and what with the Director one of whom is none other than David Cronenberg and a star studded cast whom are not the only icing on this multilayered icing cake of a film. Multi layered texturally, and in a narratives sense , emotionally, powerfully contrasting and just mad cap and real. It sees the situations guaranteed in today's society, it speaks very much at the end of the cyber capitalism, whence power, mass growth of over populated trivial power and digital mania is ever more corresponding in every day life. It sees this all through a complicated of whom is portrayed by the cold, straight, sincere, intense Patterson whose world is engirdled in sex, drugs, and the ever more populating piling well printed afresh papers. Existentially it is a rare film with an unnerving intensity riddled with lacklustre illicit almost arcane sentenced structured dialogue , long pauses, dead silences, an eerie film- its either science fiction bordering of being an artificial existential film- it's a film that centres on the singular perspectives and an observations of Robert Patterson's alien like inhumane character- deliberate and it deals with very Cronenberg ways- slow- glacial- glaciations.

It tracks along with the limo- meetings- the characters seamlessly impersonating of what us humans are- aliens impersonating the most alien of all is us. It's all financially and gut levelling intriguing- Cronenberg is a cerebral director- his metaphors in horror all creatively on canvas. Here it's more or less neither creative, or insight into being a more engaging film, its never boring. Emotionally you don't engage, but i find that it is cinematic strike to the throat- either way the trailer raises our brows and smirks- this is a work of film maker whom is ever more broadening his creative canvas- less stylistic, more blunt and script rupturingly intimate with the concourse of performance, never in your face, never much an absences of what- it is. What it is a slow glacial intriguing often off beat off kilter look at the demoralisation of ones self- and his depiction of earth and funds and his soul repertoire and sexual and whole self decaying in the ensconcing Sinicism's of the degenerate swine that he is.

Far from his mainstream extremities, and engrossing watches, and far from his sluggish and beautifully retrospective horrors full of metaphors and symbolism, this film isn't symbolic, its straight in your face punch you in the snoozer. It gets its morale's and message out there- its raggedness, its power house performances, its style, its odd angles, extreme, often offbeat, off kilter, often dark, brooding, an OSCAR want for my say, so far the best of the year. Disconcerting, empowering, visually stimulating in sense that you don't half expect. It is never the film you anticipate or expect, but it's a film you leave thinking well its neither better or worse than anticipations its something that's different, odd- surreal- enrapturing- moderately interesting- a cynical retro look on politics, animosity, the rallied world wares of people- cults- ravish knighted wisdoms, integrity, and a need and want for annihilation in peoples perspectives and wants and the encapsulating sense of control over the shameful affairs- namely he wants a hair cut.

Patterson is a tour de force, worthy of his career in cinema, an aura, an aesthetic, an actual ruminant, to see him clothed and statured as this demoralising "man" yes encapsulated that ias its hard what with his boyish looks but you soon feel the manhood and world wariness and sexual uncontrolled mosaic cynicism and narcissism practically wafting off of Patterson. He purrs the dialogue, as does Giamati getting the best line concerning PARANOI-A PEANIS, AND AN ABDOMEN AND THE DISSAPEAREANCE OF AFORMENTIONED PENIS.