Cosmopolis

Went to see this the other night: seven people walked out during the screening and, as the credits rolled, a guy just along the row from us leaned over to his girlfriend and pleaded ‘Sorry’ loud enough for the whole cinema to hear (and got the biggest laugh of the evening).

This film seems to be polarizing people, and I’m definitely in the ‘didn’t like’ camp. Pattinson was fine, as were Juliet Binoche and Paul Giamatti, but it was alienating and obtuse and not as clever as it thought it was. And maybe that was the point, but I’d love to have seen Pinter* or Mamet have a stab at the dialogue in these vignettes; it could’ve been poetic and enthralling, but instead it felt like a series of drama school monologues.

And I know this isn’t your typical narrative-driven cinema, and I won’t usually be this negative, I’m generally a half-pint-full, well-they-didn’t-set-out-to-make-such-a-terrible-movie kind of bloke, but this one had me fidgeting like a six-year-old.

This is the latest in a series of movies I’ve seen where a director in his dotage is indulged by a studio and the results have been disappointing: Scott with PROMETHEUS, Malick with TREE OF LIFE and now this. Fair play, they’ve earned the right I guess but I’ll definitely think twice before parting with my Odeon points again.

*Yeah, I know he’s dead…

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Published by

unusuallytallstories

Author, screenwriter, and co-founder of the Bestseller Experiment podcast.

4 thoughts on “Cosmopolis”

  1. Any american film with a ‘rave club’ scene is guaranteed to be bad.

    Judging from the trailer, they think audiences will want to see this film because it’s got people shagging in a limo.

  2. Reminds me of seeing a play in the 80s – Masterclass – about Russian composers or something dull. When, finally, a main character died, an old lady in the seats in front of us said to her friend, loudly, “Thank god he’s dead.” We all concurred.

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