Pattinson and Cronenberg, Cronenberg and Pattinson – it is a combination which becomes scarcely less surprising each time you see it there before you. One is often cited as the greatest Canadian director of all-time and indeed one of the most important and influential in global terms too, with a Légion d’honneur and the Cannes Film Festival’s lifetime achievement award, the Carosse d’Or, amongst his galaxy of accolades.
To be fair, the much-younger other has accumulated his own fair share of trophies as well, although his, to date, have tended to be more of the MTV Movie Award for Best Kiss variety, as opposed to prestigious cultural honours from the French government. True also to say that he enjoys a far less unilaterally positive critical reputation than his new directorial mentor.
For while Cronenberg may have endured his fair share of barbs and brickbats down the years, it is difficult to believe he too often faces the kind of vituperative assaults on his professional competence that Pattinson is forced to endure pretty much any time a movie comes out with him in it. See, for example, The Playlist's review of Remember Me ('Pattinson has mastered an American accent, but he should focus on actually acting. Squinting does not count'), or Slash Film's review of Twilight ('Pattinson spends most of the movie with a look on his face that's a cross between Zoolander's “blue steel” and a person trying to stave off a diarrhoeal attack').
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