One of the most interesting things about Cosmopolis, writer/director David Cronenberg’s extraordinary adaptation of Don DeLillo’s novel by the same name, is that it’s based on the first script Cronenberg has both written and shot since 1999′s eXistenZ. Additionally, Cronenberg’s adaptation of Cosmopolis marks the first time he has adapted a work since his 1996 [READ MORE]

Prophetic though it was, Don DeLillo’s 2003 novel—now a whip-smart film about meltdowns global and personal—gets one thing absolutely wrong. (So does the movie.) Consider some of cinema’s past greedmongers: Michael Douglas’s ravenous Gordon Gekko, his face strained with impure appetites, or Christian Bale in American Psycho, plenty active to burn off those extra calories. [READ MORE]

 THE social theorist Marshall McLuhan famously described media as “extensions of man.” The filmmaker David Cronenberg, a fellow Canadian, has made several movies that count as mind-bending elaborations of that insight. In “Videodrome” (1983) a video signal embedded in a pornographic cable broadcast causes hallucinations and bodily transformations in its viewers. The game players of [READ MORE]

An eerily precise match of filmmaker and material, “Cosmopolis” probes the soullessness of the 1% with the cinematic equivalent of latex gloves. Applying his icy intelligence to Don DeLillo’s prescient 2003 novel, David Cronenberg turns a young Wall Street titan’s daylong limo ride into a coolly corrosive allegory for an era of technological dependency, financial [READ MORE]

David Cronenberg’s adaptation of Don DeLillo’s postmodern, Ulysses-like novel Cosmopolis plays like a profoundly perverse, darkly comic successor to Videodrome. Taking on another “unfilmable” novel, Cronenberg again accomplishes something remarkable: hewing closely to the source material in letter and spirit, yet still stamping it as a distinctly Cronenbergian endeavor, albeit one lacking much in the [READ MORE]

Both a first-rate adaptation and the ideal dystopian nervous breakdown for our post-Occupy moment, David Cronenberg’s Cosmopolis kicks off with a Zbigniew Herbert quote (“a rat became the unit of currency”) and ends with a one-percenter in a stalemate with his proletariat opposite. In between those two moments, we get nothing less than a sleek, [READ MORE]

Ahoy, squirts! Quint here. David Cronenberg’s Cosmopolis was one of the big ticket films that got me revved up for Cannes. Who doesn’t love David Cronenberg movies? I know there are those assholes out there, but they must know they’ll get a cauliflower ear if they diss the man or his work around me, so [READ MORE]