Cosmopolis

Cosmopolis is exhilarating in two ways. The first is that it offers up the soothing image of a billionaire capitalist brought to heel by riots. The second is that Pattinson's work as Packer.

Cosmopolis, based on the Don DeLillo novel, is less forthright and substantially less enjoyable, but the same general themes are recognizably in place.

Cosmopolis is as an exercise in outlandish dialogue and bone-dry humor, a contemporary allegory that is also a sustained riff on the idea of a virtual world.

"Cosmopolis" is a hypnotic examination of our modern anxieties about the dehumanization brought on by wealth, power, and technology.

The rapid dialogue is dry and mannered, like a David Mamet play, there's virtually no story and Cronenberg's visual scheme is cold and claustrophobic.

Well, if it isn't the most confounding movie of the year.

A challenging, occasionally off-putting film that marries DeLillo's prose and many of Cronenberg's key themes. Pattinson is fantastic as a disaffected rich buffoon and the high tech limo gliding through a dystopian tech-bro future is a thing of beauty

A Joseph Conrad-esque journey into madness and obliteration...

Cronenberg has not made a commercial piece of cinema overly concerned with making money here&#59; this is a work of art whose brushstrokes are masterfully crafted, intricate, sometimes distancing, and nothing short of fascinating.

Halfway between the postmodern novel and a movie in the style of a role-playing videogame, [Cosmopolis] is only worth it because of its final chapter... a Cronenbergian debate that though delicious, it arrives too late.