Cosmopolis (2012)

Director: David Cronenberg

 It's not everyday you leave a movie theater confused on whether or not the movie you just watched was a brilliant masterpiece or psuedo-intellectual soulless crap. But this is close to what happened when I finished watching Cosmopolis. It's a movie that is mostly just all conversations, and some very odd, nonsensical ones at that. For example, there is one in which two characters talk about rats becoming the new world currency. My dilemma became "is there legitimate meaning behind all this dialogue or is it all just a fake attempt to try to say something meaningful without actually showing it?" After putting some thought into it, and admittedly giving  Cronenberg the benefit of the doubt, I lean towards actual intellectual rather than psuedo-intellectual. But even if you don't quite understand the concepts and conclusions of the economic and existential conversations, you understand the film because of Cronenberg's direction.

The movie can definitely be defined as soulless, but I'm not sure that's a knock against the film because it suits the subject matter quite well. The film is an examination of a soulless man, a man who has become so cold and distant due to his very sudden rise and fall in wealth and class, which has isolated him from the rest of the world, something that Cronenberg captures extremely well with the many claustrophobic scenes in his limo. He is now experiencing a new feeling of loss, which seems to catapult into an existential yearning for his past, something familiar. The whole movie is him trying to get across the city to go to the barbershop where his family used to get haircuts. Robert Pattinson was made to play the main role. All the negative criticism his acting received for the Twilight movies is a positive in this film. His distant, expressionless performance matches perfectly with Cronenberg's almost-robotic direction.  I'm still not completely sure of what it all means, especially the last scene which appears to turn the film on its head a little too much, but I think Cronenberg got across exactly what he wanted to get across. The feeling of non-feeling.

Grade: B+

A Dangerous Method (2011)

Director: David Cronenberg


This isn't a great film, but I feel like it will eventually become an essential part of David Cronenberg's career. A Dangerous Method boils down so much of the thematic material in Cronenberg's earlier films, which makes the fact that it's basically a talky period drama not that surprising even though it should be. Both Sigmund Freud and Carl Jung are the main characters of the film, and their studies on human sexual behavior and psychoanalysis were probably studied by Cronenberg many times when he was making his earlier body-horror movies.


So the subject matter and all the conversations that Freud and Jung have are directly related to Cronenberg's sensibilities, and if you're a huge Cronenberg fan it's definitely a must watch. But I'm not sure it's a great movie. The film does not have a singular focus, instead it tries to be a film about the birth of psychoanalysis, the rise of a young psychologist studying under Freud, and a love story between a patient and her psychologist. The elements in the film were certainly connected, but tf it wants to satisfyingly tackle all of these stories it should have been much longer than the 99 minute runtime.


It may not have been exactly what I wanted, but A Dangerous Method is still always completely fascinating. This battle that Jung has between repressing his sexual desires and staying true to the monogamous relationship that he believes he must uphold makes for some inner conflict that is thrilling to behold, especially for a figure as educated and intellectual as Jung. I certainly was engaged in intellectual thought while watching and listening to Jung, Freud, and the very entertaining Keira Knightley, but it was the result of the dialogue and the real life figures in the film, rather than the filmmakers.


Grade: B-

Filmcap: The week of Oct 23-30

Don't Look Now, Hoop Dreams, and Morvern Callar are some of the highlights from this productive week of movie watching. In this post you'll two "adaptations" of classic novels by two very different authors, two mesmerizing movies about the different ways people deal with grief, and also a movie with a typewriter that is a bug. Many more reviews of 2011 movies that I'm catching up with coming in the coming posts. Now that it is winter break I hope to catch up a bit with these posts. Also, the movie posters for the movies this week are all pretty good (except for the In Time one).

Filmcap: The week of Oct 2-9

Bunuel's The Discreet Charm of the Bourgeoisie, von Trier's Europa, and the final season of Deadwood all feature in this post. Yes it's been a long while since my last one, and I am good awfully behind, but I am determined to keep it going. Quite a large variety of stuff in this one. It includes a couple of television documentaries about history and also the culmination of a series that almost serves as the history of society. The Deadwood post is possibly the longest in this blogs history, maybe being second only to The Tree of Life post.