Cosmopolis is featured on various ‘Best of 2012’ lists
Cinemart – Top Ten Films of 2012
1. Cosmopolis is as talky as a screwball comedy and as visually wild as only cinema can be. David Cronenberg’s timely dissection of the haves and pseudo masters of the universe features an assured performance from Robert Pattinson as a man who just wants to get a haircut and ends up on an increasingly distracted quest that takes in existential angst, free market economics, a spot of casual murder, romance, sex, a prostate examination and anti-capitalism protests. A truly special work that demands you pay attention all the way, this one will stick in your head for weeks.
Slant magazine: The best films of 2012
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.
The Film Stage: The most overlooked Films of 2012
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.