MovieChat Forums > Cosmopolis (2012) Discussion > Never seen so many people walk out!

Never seen so many people walk out!


I went to see Cosmopolis tonight. I should have stayed in and cut my toenails, or looked out of the window. I'm sure that would have been more interesting. More than half the cinema walked out. Admittedly there were only about 20 people to start with, but I counted barely half a dozen made it to the end. None of the walk outs were misguided teenagers coming along for the Pattinson ride; these were older cinema-goers obviously hoping for something a bit different from the usual multiplex-fodder.

Well, we got something different all right. Cosmopolis is truly awful. The dialogue is unbearably stagey, frequently incoherent, with characters lacking any convincing motivation for their bizarre actions. The sheer volume of dialogue wouldn't necessarily be such a bad thing if any of it actually carried some meaning. Brace yourself for nearly two hours of hot air & robotic performances which quickly grow tiring on the eyes & ears.

I haven't had this less fun since I watched Synecdoche New York! YMMV.

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What did the cinemagoers (and you) expect when you decided to go to this film? I'm not going to rant on "oh, it's an intellectual movie, you don't understand it." But I will say walking out of a Cronenberg film because it's incoherent and bizarre with funny dialog is like walking out of a Michael Bay movie because it's too loud and the cameras are too shakey.
... I also hated Synechdoche, NY...

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I'm actually looking forward to watching this movie, besides, it can't nearly be as mind numbing and misleading as Drive which my ex made me sit through in its entirety.
Even if there are only 15 good minutes of Cosmopolis at the end, that's more than I can say for Drive.

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Funny you should mention Drive, I just watched the DVD a couple of nights ago. I had no desire to see it when it came out, I wasn't impressed by the trailer, but I ended up loving the movie. It's an excellent contrast to Cosmopolis though, because it had so little dialog. I read an interview where Gosling said the dialog was so bad, he literally ripped pages out of the script and refuse to say it. He and Carey Mulligan agreed that their scenes were better in silence. I can't argue with him on that point, I found the whole movie to be powerful, and I'm not a Gosling fan. But I enjoyed the direction, and overall, it seemed like a stripped down version of True Romance, another film I like.

Cronenberg has said that Cosmopolis isn't for everyone, and as they were going into the screening at Cannnes he warned Pattinson that there would probably be boos. It got a standing ovation that lasted over 8 minutes, the longest of any film at the festival this year.
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I didn't know Gosling had such a big influence over the script, that's really interesting.
I wasn't interested in seeing it either, but the trailer gave off a completely different vibe than the actual role. For me, I just suffered through, I love movies that dare to be different and stretch our imaginations and boundaries, but Drive didn't do that for me. Everyone in the room joked throughout the movie ..."Ok, NOW it's going to get good...ok ok ok, but NOW it's going to start to get good" and at the end I felt so unsatisfied and the first one to say it never got good.
I chose Drive as my example because people either loved it or hated it and it was so Spartan when it came to dialog whereas from reading this thread it appears this movie is laden with it and also has the same polarizing effect on movie goers.
Unfortunately for me, Cosmopolis isn't being shown in any theaters near me and I can't find it anywhere online so I guess I have to wait for it to come out on DVD ;( but I would have loved to see it now and give you my take on it.

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Yeah, I was amazed to hear Gosling talk about the script that way, you don't hear that from a lot of actors, and Cary agreed with him, so they were united in that. I usually enjoy films with a lot of dialog, but I was impressed with Drive. It conveyed what needed to be conveyed without many words, for me anyway.

I know what you mean about waiting for a film to get good, though. I do that, too. I remember that The Departed was a film that didn't grab me from the trailer, but when I finally saw it, it only took 5 minutes for me to go, "oh, this is going to be a good movie."

I don't know where you live, but Cosmopolis won't be released in the US until Aug. 17th, so it isn't playing anywhere except Canada if you're in North America. It's in various countries in Europe right now.
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CurzonStreet - Have you actually seen Cosmopolis or are you still trolling those reviews around?

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If you are prepared, I mean knowing that this is a talky movie with stylized dialogues that you won't get all of them from the first watch and that it deliberately can give the audience a disconnect feeling, you will at least appreciate the movie. The mood changes in the second half, it becomes more dark.
I haven't seen Drive, but I loved Cosmopolis and its tragic lead Eric Packer.
Please come back and give your opinion, once you've seen it

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Saw it June 23rd near Canary Wharf in London's business district, similar result about a third of the audience walked out.
I have a policy of never walking out of a film, so I simply stopped listing to the verbal diarrhoea after 30m of so. My rating 1/7.

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With all respect but honestly, I don't get why so many people walked out and others stopped looking.
First I wouldn't walk out just for not disturbing the audience.
Second the only reason I'd stop watching a movie would be because I would find it dumb. A lot of movies, when I see them on TV, have a very poor plot with very dumb jokes and poor performances.
This is not the case with Cosmopolis, just the opposite. I can understand people not getting the movie from a first watch, but I would continue to try, especially when, after a while, you can feel that Eric's life is going to change drastically.
You don't have to be intellectual to understand that things, occured and/or said in the movie, just take place at this moment in our society.
I've read in an interview with David Cronenberg that he had met someone who has to deal with the 1% and that man was stunned with the similarities he had noticed in Eric Packer's character.
The dialogues are special, that's true but there's no verbal diarrhea IMHO. There are a lot of dialogues but what with The Social Network? This movie was full of dialogues, never heard a complain.
My daughter who's young (18) has loved the movie. Her only remark was that she would like to see it one more time for a better understanding of the meanings of the dialogues as she felt that there was a lot to think about.

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I watched the movie in an English cinema in Berlin. Out of ~40 people I would say about 15-20 walked out. I wish I did too.

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The writer misseed the entire world of high finance , fact is far better than fiction . There is an entire world of global finance thats evolved out there and a cadre of young & not so young international traders that participate without emphasis on any special national allegiances or financial home base . They aren't rogue traders but in effect a new evolved breed of of trader/financier that has come about in the globalizing world . Men of power to some extent not as wealth creating as a Steve Jobs or Bill gates or the Gnome of Iowa .

This is fascinating stuff & very real, these fellows that can control the supply & cost of wheat to entire countries like Egypt for instance thru buying futures, storing & stockpiling the grain & s holding it seasonally artificially setting prices for personal gains . But wealth & money manifests across a huge playing field of financial economic universe of stocks, bonds, real estate, commoditties , arms & weapons , loans & insurance & insurance for the insuranceon the loans . You can make money betting stocks will go up & also take the short side making money when the market falls . Oil , gold, silver , platinum to fertilizers without which people don't eat & animals too for that matter.

Hollywood should be having a field day with this but lacks the cajones to do so and the writers these days are just that weak & insipid rather cashing in on Comicon , Vampire & Transformer 12yrold demographics. Wall Street, Trading Places, the Devil's Advocate and now lets go further than this . Its not just Wall Street any longer , there's Hong Kong , Dubai , London, Zurich, Bankok,Beijing, Moscow , etc etc.



"Want to know how to make God Laugh? Tell Her your plans...."

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That was an interesting comment, you seem to know a lot about it, so thank you for sharing.
A agree with you that Hollywood has become more about box office numbers and brainless action movies that about art.
Cinema can be useful in pointing out what's going on in the world. Films like Johnny Mad Dog show probably more about child soldiers than articles do. But cinema is also about art in all its ways.
For me, Cosmopolis is an art movie, that intents to give ideas. It respects its audience in that way that it leaves it up to them to take or not what they want from the movie and there's a lot to take if you're interested in the source material.

Eric Packer's story can be seen strictly as the story of this alienated man, wanting to go to his roots to find something new, something he has lost.
Eric Packer can be considered also as an abstraction, a symbol of the financial elite and its downfall.
Some posters have written interesting opinions of their POV's.
I think Cosmopolis isn't only about this cyber capitalist and trader, I think it is about the powerful people in general and how that power influences the daily lives of the 99%.
A poster here looked at the characters as representing different social levels of our society. That was very interesting and got me to this:
- Eric Packer is the 1%, don't need to explain further, I guess
- Elise Chifrin, his wife represents the aristocracy, rich or not rich anymore, but even so at distance and not in touch with what's really going on in the world as long as they can stay in their ivory tower.
- the rest of the characters represent the 99%
a) Shiner and Chinn are the young, highly intelligent guys for whom the
numbers aren't more than the next pc game
b) Didi represents the artists, the cultural department. Those who try to
find the balance between creating and selling art
c) Jane, the financial director and single mom, belongs to those who
desperately try to combine their work with their other responsabilities,
to what price . She's like the former Benno Levin
d) Vija, the chief of theory, is the intellectual part, those whose social
position is comfortable enough to give them the opportunity to
philosophize, to sit in their chair and think, without being hurt by
what happens
e) Andre stands for the rebels, those who revolts against the system without
delivering something meaningful to it either.
f) Benno Levin represents those who have tried, but failed, those who weren't
good enough, who couldn't endure the pressure
g) the barber and the chauffeur belong to the people who have learned to be
content with little, not to expect too much. They enjoy life as it is
given to them.

When I look at this list, apart from Eric Packer, I can picture people of my own environment in every category, described above.
As for Eric, I only have to follow the actual situation in the political, economical and financial world to meet him.



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None of the walk outs were misguided teenagers coming along for the Pattinson ride; these were older cinema-goers obviously hoping for something a bit different from the usual multiplex-fodder.


So I'm just curious, when the last time you saw teenagers walk out of a movie? I've never seen it. It is almost always older folks that walk out.

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I just saw the film in Australia, and out of the 20+ people there, about 8 walked out. Two within the first 20 minutes. All of these people were easily into their 30s or 40s. Towards the end, everyone just started laughing because it just couldn't get worse (the fungus between my toes are telling me....???).

The premise was there, but it got lost with the talking and lack of music. I overheard some people after the film say "I can handle a bad film that has a plot, but I just could not follow this plot".

This film might have been better if I felt some sort of connection with the characters, but they had no emotions or social skills - they were just robots. Half the time the conversations were just them repeating what the other person said back to them. Or just pure babble that I think was suppose to come off as some sort of meaningful dialogue. I just read the factlet that said this script was written in a week - does not surprise me.

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Well, I can imagine these reactions coming from people who went to see the film unprepared. It is a love it/hate it movie.
What disappoints me a bit is that I've just read some excellent reviews from Australian journalists who've written almost an essay about the plot and the meanings of both DeLillo's novel and Cronenberg's film adaptation. I appreciate their POV's very much and I guess that, if people should've read these reviews, they would've been more able to consider if they would give the movie a try or not.

This plot is difficult to follow and needs in fact a second view or some research on the net. It was the intention that people shouldn't feel a connection with the characters. The whole movie is filmed in a cold, detached way just as it had to be. Though, if you were willing to go for it, you'd see how the character Eric Packer becomes more and more human and vulnerable towards the ending.
No repeating of convo's though, every line had its meaning, many in fact were quotes with more meaning than just the line itself.
The fact that David has written the script in 6 days is because he has copied the stylized dialogues literally from DeLillo's novel. That's why. You may not like the plot but don't insult Cronenberg's intelligence

What I don't understand well either is people laughing towards the ending. Really? The final scene is to laugh with?
I guess Australia doesn't suffer from the financial and economic crisis as Europe does since a few years. The whole movie but especially its ending gave me goosebumps at while because of the reality we have to endure at the moment.

Again, thumbs up for some of your reviewers. They were much more intelligent and insightful than the 'pseudo'intellectual critics of my country.

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The premise was there, but it got lost with the talking and lack of music. I overheard some people after the film say "I can handle a bad film that has a plot, but I just could not follow this plot".

This film might have been better if I felt some sort of connection with the characters, but they had no emotions or social skills - they were just robots. Half the time the conversations were just them repeating what the other person said back to them. Or just pure babble that I think was suppose to come off as some sort of meaningful dialogue


Agreed 100% Was not my type of movie at all.

http://i45.tinypic.com/ifsysx.gif/

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I've just seen it Downunder, and a starting audience of about 25 was reduced to less than 10 at the end.

I have had a worse experience, at the movie Snowtown, which was torture porn masquerading as an arthouse take on historical events here in Oz, when a starting audience of about 40 was reduced to a dozen at the end, and we all left ashen and close to retching.

At least Cosmopolis wasn't that bad!

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Funny how most of the critics are loving it. Where I'm from, people who pay $12 to see a film don't walk out, they stick it out til the end. I don't think I've ever been at a movie where anyone walked out unless they had a crying baby.
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http://whitecitycinema.com/2012/08/27/now-playing-cosmopolis/
Excerpt: One of the most common generic criticisms I hear about movies from my students (and this is particularly true after I screen New Hollywood films of the 1970s that center on anti-heroes such as McCabe and Mrs. Miller or Days of Heaven) is that they found it impossible to “care about” or “root for” the characters. This criticism has become so commonplace that I’ve developed stock replies of, “If you want to care about somebody, spend time with your family or friends” and “If you want to root for someone, watch a sporting event.”

Then, coming down from my snarky high-horse, I more logically argue that it shouldn’t be necessary to like a movie’s characters in order to like a movie. In the final analysis, shouldn’t it just be enough to find the characters interesting? If it were a universal prerequisite to like a film’s protagonist in order to be able to enjoy a film, then absolutely everyone would hate Cosmpopolis because Eric Packer is the single most unlikable protagonist I’ve seen in a movie this year (and, remember, I’ve seen Killer Joe).

Packer is impossibly wealthy, moves in the most rarified social circles, has access to technology and resources that 99% of movie audiences cannot conceive of, and also speaks a tech-heavy slang that nobody really understands. He is a man who has everything but is also dead inside. (I suspect many viewers will find the extreme stupidity of Joaquin Phoenix’s Freddie Quell to also be a stumbling block in appreciating Paul Thomas Anderson’s The Master, which opens in Chicago next month. Freddie is the polar opposite of the genius Eric Packer; he’s the dumbest lead character I can recall seeing in a dramatic Hollywood movie, even dumber than Raging Bull‘s Jake LaMotta.)

Cosmopolis: http://www.youtube.com/watch?v=RwehC_EuN-k
http://ow.ly/1iTyiC

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http://www.inquisitr.com/304435/robert-pattinsons-cosmopolis-reviews-a re-in-mixed-to-magnificent/
The Film Stage [Nick Newman added a coda subsequent to his review]

“Love it or hate it, this is a film made without compromise. But I do love it, and even think David Cronenberg has done some of his finest work with a scary, funny, and prescient examination of a world which lies just outside the limo. What’s great on the page and translated through the camera is tied together by one great ensemble, all of whom are squaring off against Robert Pattinson,an actor who could only be said to have made his homecoming. What a beautiful breakout this is.”

Quite a journey.

Certainly this is a watershed moment for Pattinson (on a number of levels as it turns out.) But as he transitions from a perception of purely commercial success to critical — from the look at the above — it’s clear the majority of critics think he aced the jump. The word is bravo.
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Nobody walked out when I saw it, we were all fascinated.
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"Where I'm from, people who pay $12 to see a film don't walk out, they stick it out til the end."

Didn't you know that the posters on IMDB who walk out when they don't like a movie do so in order to demand their money back?

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