Preview: Upcoming movies from David Cronenberg and Wes Anderson

Entertainment

Don’t let Robert Pattison’s expression fool you into thinking that his character in David Cronenberg’s Cosmopolis will simply be Edward Cullen in a suit—from the trailer it is clear that he has reinvented himself as a far more serious man with a far more serious haircut. Since Pattison’s characters are generally prone to sullen silences, their hair is by far the most eloquent expression of their inner selves. Back when he was rebellious and rugged in Twilight, it was the sort of tufty environment that would make a perfect nesting place for small animals. Now, however, his bouffant coiffure has been flattened down and the squirrels within all driven out to reflect his sleek, urban lifestyle. This new look still matches perfectly his trademark expression of boredom mixed with angst; and after all, who wouldn’t be bored with a life filled with parties, explosions and electronica, rides in limousines and charged encounters with women straddling the line between assassins and prostitutes? Not to mention having to deal every day with swarms of demented protesters who, in a slightly less persuasive version of Occupy, insist on putting their point across with dead rats? Such are the daily trials and tribulations endured by that elusive species commonly known as the astronomically, mind-blowingly rich.

With its sepia tones and curling fonts, fresh-faced young campers and larger than life adults, every detail of Moonrise Kingdom seems laden with nostalgia for childhood, the kind of outdoorsy, old-fashioned, timeless childhood straight out of ‘Swallows and Amazons’ or Edith Blyton. It’s the kind of classic, adventure-packed childhood we all know and love, admittedly through fiction. The movie is about a solemn boy and a neatly dressed girl on a great escape from their parents and guardians, an escape from which varied capers evidently ensue. Something about the trailer perfectly captures the paradox at the heart of all children’s adventure stories; the boy and the girl treat the whole operation of running away with the utmost seriousness, yet in the world of the movie it seems impossible to incur any kind of serious injury or hurt. In a children’s adventure story, even being struck by lightning is completely risk-free. However, the appearance of the typically cynical Bill Murray as well as a warning about ‘smoking and sexual content’ suggests that the film is filtered through an adult consciousness. The movie’s intensely coloured characters and dramatic events would mesmerize any child, but also appeal to the point of view of an adult, amazed at the insane plotting of children.

Rachael Goddard-Rebstein

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