18 maggio 2014

'Maps To The Stars' Reviews + Media Reactions at the Festival de Cannes


Oggi è stata proiettata la prima stampa del film di Cronenberg "Maps to the stars". In basso potete trovare le prime recensioni e reazioni dei giornalisti.

english version:
Today "Maps to the stars" had its first press screaning at the Festival de Cannes. Below the reviews and reaction of the media.

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Reviews
The Wrap
His Cannes entry, “Maps to the Stars,” returns in a way to territory Cronenberg explored in “Dead Ringers,” and it's probably the director's best film in at least a decade. Here, working with the talented literary satirist of Hollywood culture, Bruce Wagner, Cronenberg has hit his stride in a big way. He nails our celebrity-obsessed culture, and the sickness it breeds, right to the wall

(...)

Cusack is appropriately creepy as the father, and Williams is solid. To say any more about them is really to spoil things. Robert Pattinson has a small part, but gets a love scene, of course, to satisfy his fans. Pattinson and Cronenberg are developing a nice collaboration, however, and here's to hoping we get to see more from the two of them.

The Playlist
The director's also been gifted a cracking cast for the material. Before you ask: no, Robert Pattinson isn't in it all that much (his role could argue be lifted from the film without too much problem), but yes, he's pretty good in it. Plus you get to see him as a sort of glam-rock version of Khan from "Star Trek," so there's that. Olivia Williams' role is similarly underwritten, but she does find new texture to the kind of ice maiden that she's riffed on before.

(...)

But on the whole, the film is a sickly enjoyable wallow in the scandalous, fucked-up side of showbusiness, and a real return to form for the filmmaker. If nothing else, it'll rid you of any last desire to go on an actual LA star tour, and that alone is something to be thankful for.

Telegraph (5 stars)
Jerome, a chauffeur and would-be actor winningly played by Robert Pattinson.

(...)

My instant reaction, after stumbling, open-mouthed, from the cinema, was a pathological need to stumble back in again. There’s so much in this seething cauldron of a film, so many film-industry neuroses exposed and horrors nested within horrors, that one viewing is too much, and not nearly enough. Cronenberg has made a film that you want to unsee – and then see and unsee again.

The Guardian (4 stars)
Maps to the Stars is a tense and scary movie, unwholesome in the hold that it has on the audience. Perhaps, in the end, it is too extravagantly cynical to be entirely truthful about Hollywood and LA, but it has a Jacobean power, the kind of thing that John Webster or Thomas Middleton and William Rowley might write if they were living in the 21st century: a claustrophobic nightmare of despair

Film 4
Maps To The Stars is a film having plenty of fun with the notion of Hollywood dynasties and the processes by which success is achieved and cemented – who knows whom, who’s seeing whom, who hates whom: all the invisible, untraceable connections that bind Hollywood together. The joke is that there is no map to these stars, and without an innate sense of direction you’ll soon be lost. Hollywood is often decried as incestuous, and this film plays that idea to the hilt, with the product of incestuous breeding even more troubled and egotistical than the generation before that. - See more at: http://blog.film4.com/cannes-review-maps-to-the-stars/#sthash.C9PmSbTq.dpuf

Little White Lies
True to style, David Cronenberg's Maps to the Stars is a work of cinematic fusion. Like the weeping vagina hidden underneath Marylin Burns' armpit, here we have a bracingly blasé investigation into unmentionable family taboos which has been forcibly integrated onto the body of a noxious (and not wholly convincing) La La Land burlesque. There are no waspish one-liners or ironic rib-nudges here — this is a punk jeremiad which rams your face into the constipated asshole of Hollywood. The thrill of watching the film comes from attempting to locate the strained sinews where these two strange sides converge — or, as the film would have it, finding "the flesh that says yes".

Twitch Film
Julianne Moore's raw power is on display, but the Blanche DuBois act feels equally wrought. Mia Wasikowska and Robert Pattinson are perfectly fine. Newcomer Evan Bird can spout "Jew cunt" as written on the page and come across as douchey when called for, but his venom comes across more as school-bully than truly demonic child actor.

Time Out London
The story is wild, but it’s dragged through the rough patches, when satire rubs up against exaggeration, by three killer performances from Waskikowska, Moore and newcomer Bird. Cronenberg’s direction feels at home in a world of soulless homes and offices, clubs at night and flash cars. He locates a deeply sick spirit in his tale and explores it through far-fetched fiction told with deadly seriousness, also adding a dose of baroque to proceedings and a streak of wicked humour. ‘Maps of the Stars’ offers some ludicrous moments and a fair few bum notes, but we’re still left with a troubling sense of infected bloodlines, sick Hollywood genes and a world any sane person would run a mile from.

Indiewire
The cast synchs with the material by exuding its wicked extremes. Moore's icky performance marks her best work since "Magnolia," and Wasikowska's eerie disdain for the older competition allows her to make a welcome shift into creepier material. Cusack's usual deadpan delivery gets a fresh kick from his character's contemptible eccentricities. Bird, to date best known for his role on "The Killing," nicely inhabits the child actor mold by radiating privilege in every line.

Only Pattinson, in a handful of scenes, is underutilized—yet the new context of his celebrity in this anti-celebrity project marks one more satisfying ingredient in Cronenberg's subversive mixture. "Maps to the Stars" is like a poetic dissection of familiar ingredients that zeroes in on its worst offenders. Every major plot point, from Havana struggling to land a role playing her own mother to Agatha seeking to reenact a perverted incident from her parents' past, underscores the impression of Hollywood's redundant tendencies enveloped in an eternal downward cycle.

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