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Drive, he said

Hard to believe we went an entire decade without David Cronenberg, master of provocatively hallucinatory cinema, serving up his specialty. Cronenberg didn’t go on extended sabbatical after the Ralph Fiennes schizoid head trip, “Spider,” came out in 2002; his output since includes the simmering Viggo Mortensen films “A History of Violence” and “Eastern Promises,” plus the recent Freud-Jung portrait, “A Dangerous Method,” with Mortensen and Michael Fassbender. Still, “Videodrome” they weren’t. Finally, Cronenberg gets back to it — and in timely fashion — with his economic-meltdown riff, “Cosmopolis” (2012), adapted from the prescient novel by acclaimed postmodernist Don DeLillo. At the risk of echoing ourselves, “Margin Call” this isn’t (although the two films do share a “Glengarry Glen Ross” penchant for rendering business jargon entertainingly, self-consciously generic). Robert Pattinson stars as a young hedge-fund billionaire whose cold detachment scarcely lifts all through the film’s minimalist action — just an extended limo ride, mostly — even as financial catastrophe vaporizes his limitless wealth. Never mind city streets choked by over-the-top economic protests; Pattinson (above) has a haircut appointment to make, and esotericism to bandy about with adviser Samantha Morton, anonymous underling Paul Giamatti, and others. “Any assault on the borders of perception is going to seem rash at first,” Pattinson declares. Um, indeed. Extras: In interview snippets, it’s unclear whether Cronenberg is laughing with us at the bizarrely mannered dialogue, but he does smile about that limo shoot: “It’s my version of ‘Das Boot.’ ” (Entertainment One, $24.98; Blu-ray, $29.98; available now)

SCIENCE FICTION

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