Maps to the Stars

An incomprehensible abomination, the theme of which could have turned out to be more than intriguing in the hands of other filmmakers (Sam Mendes, David O. Russell). I used to have Cronenberg in my top ten directors and I still love most of his work (including films with mixed reviews like Crash). He’s unique in how comprehensibly and acceptably he manages to portray pathological deviations from “normal” and make them part of a riveting story. With Maps to the Stars, however, he falters, as the film is an indigestible dead weight, a show of characters allegorically so far removed from reality that their definition and the escalation of their interactions dissolve into nothing. I’m giving one star for Julianne Moore, who’d excel even in the role of a cucumber. (11/04/2014)

In Maps to the Stars, David Cronenberg ruthlessly settles the score with nothing less than Hollywood itself and its glamour. This perspective brings disillusionment from a world where ruthless competition, pretense, cynicism, and the pursuit of pleasures prevail. In the chosen viewpoint, Cronenberg is not original; others have also gone after the dream factory in a similar manner. However, Cronenberg can rely on the quality acting of several film stars, led by Julianne Moore. She provides yet further proof that she belongs in the top rankings of contemporary actresses. Her fading film star is able to change all imaginable moods and expressions on the surface offered by the script. Mia Wasikowska, who is a generation younger, skillfully supports her. At the same time, Cronenberg can rely on his intimate knowledge of the environment, and some of his jabs are effective and precise. Essentially, I like his directing style, but one can't help but feel that the mysterious layer of the story is actually unnecessary, and above all, the crazy twist based on incest is contrived and the director could have treated the resolution of his story much more rationally without sacrificing the credibility and effectiveness of the story. A comparison with the famous Mulholland Drive by a different David is readily available, as they both play with the same environment, expressive means, and genre combinations, but the result is not flattering for Cronenberg. Lynch managed to play with Hollywood, genre references, and the viewer much more cleverly, sophisticatedly, and entertainingly. At the same time, I fear that outside the classic festival circuit, Cronenberg will not find much understanding for his perspective on the filmmaking world. Perhaps a note on the genre - labeling this piece as romantic carries the same weight as speaking about romance in the film The Hurt Locker since James really had a passionate relationship with war. Overall impression: 60%. (10/09/2014)

The film is absolutely excellent in terms of acting, and especially Julianne Moore demonstrates her talent and naturalness in essentially every role. However, the whole story, as it unfolds, isn't really about how difficult it is to be a star, but rather about the fact that we're all a bit crazy in our own ways. David Cronenberg continues to delve into the psyche, but this time he simply doesn't have a well-written screenplay to support it. (09/30/2014)

Maps to the Stars is your typical Cronenberg film – strange and twisted, though it's less captivating and explicit than some of his other works. It starts off almost like a comedy before morphing into a deep psychological drama that explores the perversions of the human soul, especially those living in excess. The plot culminates in a very interesting and shocking conclusion, but the journey there can be a bit dull at times. Despite the excellent cast, I struggled to connect with the characters, so I found myself largely indifferent to their experiences and fates. The film does offer a few intriguing and spicy moments, along with some truly WTF scenes. Regardless, I hope Cronenberg keeps bringing his unique and often twisted ideas to the screen. Not everything he does completely absorbs me, but I'm always excited for his new films, even if this one ranks among the weaker entries in his otherwise stellar filmography. (05/09/2018)

I was expecting a sharp Hollywood satire, but even though it’s a non-Hollywood film about the Hollywood environment, the satire is not as bold as I thought it would be. We get some dialogues here and there mocking the fads and mannerisms of the stars, but it’s mostly a subversive and untraditional movie about relationship with protagonists that are fucked up in a way that not even in Hollywood must be common. Really, such a parade of perverted and self-destructive characters is not something you see every day. Cronenberg is in true form this time, and though fans of his earlier works won’t find much physical nastiness, the inner psychical nastiness is more than enough, to the point that the film won’t be very easy to digest for many viewers, even if it’s told detachedly and with black humour. It’s edgy fun, and it worked superbly for me. 9/10 (09/25/2014)