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Despite the critical acclaim that met LP1, Twigs has also encountered an uglier side of fame since stepping out with reported boyfriend Robert Pattinson, of Twilight fame, in September. Faced with floods of racist remarks and death threats on Twitter, and swarmed by paparazzi, she has since taken a step back from social media — after all, she says, she has no control over the online venom of "14-year-old kids that should be in bed" — but she still finds the constant attention difficult.He's definitely worth it.
"I really enjoy the fun of putting something out and people liking it or hating it or talking about it, but vacuous attention, it feels disgusting. It's like a hangover," she says. "It's weird, I know that's not really because of me or what I'm doing," but nevertheless, "the positivity that I get from (my relationship) makes the more challenging aspects ... very worth it."
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.
An early Cosmopolis review has come out via Studio Ciné Live‘s Fabrice Leclerc. Directed by the iconoclastic David Cronenberg, who adapted Don DeLillo’s novel, and starring Robert Pattinson, Cosmopolis is definitely one of the most eagerly anticipated films at the Cannes Film Festival 2012.
The headline of Leclerc’s brief, three-star (out of five) Cosmopolis review reads: "A Cronenberg as brilliant as he is taut." Leclerc then begins his review by explaining that Cronenberg and DeLillo are "manufacturers of fantastic, unhealthy, and at times somber environments, of the science of language, and of totally chaotic characters. And of controversy as well."
Referring to Cosmopolis as a "ghostly and hypnotic" tale, Leclerc adds that Cronenberg had adapted to the letter DeLillo’s "ultrarich prose, filming with an incredible inventiveness this stifling and disturbing airtight environment."
As for Robert Pattinson, Leclerc says he’s "impeccable" until Cosmopolis‘ last segment, when, "lost in a verbal torrent," Pattinson "seems, all of a sudden, to be no longer in control."
Leclerc wraps up his review with the following: "As always with Cronenberg, there are no half-measures, no second gateway, no escape. Cosmopolis is to be experienced in full or not at all. Take it or leave it."I would debate the reviewers issue of losing control at the end. That's actually what I would want to see from Eric Packer at the end. Can't wait to see this movie!
A Cronenberg as brilliant as he is firm.
Each in their own genre, David Cronenberg and Don DeLillo are silversmiths of fantastic, unhealthy and sometimes dark atmospheres. As well as of the science of language and characters in shambles and - let's not forget - of controversy.
It's then pretty obvious that one would end up adaptation the other's work. Cosmopolis is the ghostly and hypnotic story of a day in the life of a golden boy who is about to lose his empire because of the crisis, indifferent to the world that surrounds him. He's hypochondriac and schizophrenic. His long journey across a chaotic New York, rythmed by meetings with his wife, his mistresses and his employees, will lead him to a point of no return. In a perfect balanced cinematic movement, David Cronenberg decided to adapt to the letter the extremely rich prose of Don DeLillo. He filmed with an incredible ingenuity this stifling and unsettling closed-door.
This preconception to stay faithful to the text of the author is amazing but not without any danger. Especially in the last part of the film, where one could definitely get lost in a verbal flood that becomes complex for the viewer and for Robert Pattinson - who was perfect until then - but seems, all of the sudden, to lose control.
As always with Cronenberg, there's no in between, no second place, no way out. Cosmopolis gets appreciated at full or not at all. Take it or leave it.
Robert Pattinson stopped Ricky Gervais on his way in to tell him his performance was "perfect". Tom Hanks and Rita Wilson joined their conversation and all four were soon laughing hysterically.
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- Buy (UK)
- Buy(UK)
Twilight (2008)- Trailer - Buy(US)
- Buy(UK)
Little Ashes (2008) -Trailer - Buy(US) - Buy (UK) 
- Buy(UK)
The Haunted Airman (TV)(2006) - Trailer - Buy(US)
- Buy(UK)
Harry Potter and the Goblet of Fire (2005) - Trailer - Buy(US) - Buy(UK)
- Buy(UK) 
Vanity Fair (2004)(uncredited) - watch 
