Jordan Barbosa’s review published on Letterboxd:
Cronenberg sets the scene. The 21st century in turmoil, gripped by listless rage and desire. The style, much like the stilted Maps to the Stars, heightens the artifice and fakeness of the modern world (which parallels the emptiness of its characters). But it’s much more developed than that film and in comparison succeeds in its otherworldly philosophic dialogue, reminiscent to Marx and Brecht. The stylized staging too feels like a blunter, colder, visually flatter version of Fassbinder. It’s highly theatrical, some times funny, and very dense in metaphor and political rage concerning capitalism, technology, and the state meaninglessness.
Some of it’s dense philosophical antics are plain dumb (cut out the hip hop producer please) and the stylized coldness tries it’s hardest to repel the viewer every second we see that smarmy Pattinson face reclining in his limo, but I found Cronenberg wielding DeLillo’s post-modern themes in this surreal way to be fitting and surprisingly immersive. And unlike Cronenberg’s other post-modern excavation Stars, this all star cast here mostly gets the drawl language right with Pattinson, Giamanti, and Gadon being standouts. Plus, if you squint, this could easily be the new Batman origin story.
This was a weird family viewing choice by me, but everyone actually seemed relatively engaged and I had the added bonus of my mother claiming multiple times that all these people were ghosts, which ironically isn’t really that far from the truth.
[UPDATE: 100th Movie while in Quarantine! This sure has lasted a while...]