By Charlie Denison
Fifteen years ago, Daniel Radcliffe and Robert Pattinson shared the screen in “Harry Potter and the Goblet of Fire.” At the time, Radcliffe was riding high, starring as arguably the most famous boy wizard of all time. Once the eight-film saga ended, Radcliffe had an almost unthinkable challenge on his hands: not being defined forever by a lightning bolt on his forehead.
When “Goblet of Fire” came out, Pattinson was just getting started. A scene-stealer even then as Cedric Diggory, it wouldn’t take long for him to get his time to shine. Just three years later, Pattinson would become America’s newest heartthrob as conflicted vampire Edward Cullen in “Twilight.” Tweens worldwide were “Robsessed.”
However, after five “Twilight” films, Pattinson faced a similar dilemma as his fellow London native. He didn’t want to be locked into one role.
As the faces of massive mainstream young adult franchises, the two young actors had a lot of eyes anxious to see their next moves. They both felt like they had something to prove, and they’ve done that and more.
Over the last few years, Radcliffe and Pattinson have taken on unforgettable roles in whimsical, serious, and experimental independent films. This blog focuses on some of their more recent—and more risky—performances.
Swiss Army Man (2016)
Written and directed by Daniel Scheinert and Dan Kwan, “Swiss Army Man” is an absurdly original movie about a washed-up corpse with surprising abilities (Radcliffe) who gives a stranded, lonely man (Paul Dano) hope. Radcliffe farts his way through much of the beginning of the film and doesn’t talk until several scenes in. By that point, you don’t expect him to say a word, but you don’t really know what to expect. Anything is possible in this strangely captivating magical world—a magic completely unlike any Harry Potter experienced or possessed.
Aside from being one of the more bizarre movie experiences you could ask for, the movie also has a message. The renaissance corpse (named Manny) has no memory, so Dano (Hank) teaches him about the world, leading to often hilarious moments. By the end, Manny has his own wisdom to share: “Maybe everyone’s a little bit ugly. Maybe we’re all just ugly, dying sacks of shit, and maybe all it’ll take is one person to just be OK with that and the whole world will be dancing and singing and farting and everyone will feel a little bit less alone.”
Radcliffe really shows off his range with this extraordinary role. It makes you wonder—as a friend asked me recently—“what former face of a franchise would agree to play such a role, and take such delight in doing so?” Radcliffe is clearly one of a kind.
Jungle (2017)
Directed and produced by Greg McLean (“Wolf Creek”), “Jungle” brings Israeli backpacker Yossi Ghinsberg’s book of the same name to life, taking the viewer on a harrowing journey into Bolivia’s northern jungles. Radcliffe stars as Ghinsberg, a kind, unassuming adrenaline junkie who talks his new friends into going on a journey with an Austrian geologist he just met. His buddies are skeptical (and rightly so), but they’re young and hungry for excitement, so they go for it anyway.
After a serious rafting accident, Ghinsberg is separated and stranded. He has to fend for himself, and, unlike “Swiss Army Man,” he has no hidden, helpful talents, only sheer will. Radcliffe’s performance is remarkable. It’s hard to watch—at times you feel like you’re suffering with him—but it’s worth it. “Jungle” may be Radcliffe’s most courageous work yet.
Guns Akimbo (2020)
“Guns Akimbo” is the adrenaline-fueled thrill ride of the year. It’s dark, playful, funny, poignant, and insanely absurd (or absurdly insane, either works). Written and directed by Jason Lei Howden (Deathgasm), this psychotic action flick stars Radcliffe as Miles, a nerdy, bored video game developer who loves to troll people online.
Careful who you piss off, Miles.
After stumbling upon Skizm, where people kill each other for online fame (a darker and dangerous “Nerve”), Miles thinks his roasting won’t have repercussions, but he learns the hard way that such personal amusement can have dire consequences. Dangerous Skizm representatives/creators show up at his door and bolt guns to his hands. They force him to challenge Skizm’s reigning champ Nix (a kick-ass Samara Weaving) to the ultimate death match.
And that’s only the beginning of the madness.
I gotta hand it (pun intended) to Radcliffe: this premise is so hard to swallow, but you believe Miles. You sympathize with him, you root for him, and you get invested in his ridiculous plight. That’s a true testament to Radcliffe’s ability to fully engulf himself in his character and give one truly mesmerizing performance after another.
Victor Frankenstein (2015)
Paul McGuigan (“Lucky Number Slevin,” “Film Stars Don’t Die in Liverpool”) directs James McAvoy and Radcliffe in this intoxicating, wacky adaptation of Mary Shelley’s “Frankenstein.” Reminiscent of Guy Ritchie’s Sherlock Holmes films in pace and action, this “Frankenstein” interpretation is a fun, non-stop thrill ride.
It’s also a delightful, winsome Radcliffe performance. He is no ordinary Igor, and certainly not the kind of Igor we’re accustomed to seeing. Frankenstein (a confident, egocentric, socially awkward McAvoy) finds and saves him from the circus. It’s pretty over-the-top and takes some bold liberties. Igor’s hunchbacked circus background and his trapeze artist love interest (Jessica Brown Findlay) gives the viewer a clue from the get-go that this is no ordinary rendition. Screenwriter Max Landis has a ball taking original twists and turns. He even creates a Bible-thumping police detective (convincingly played by Andrew Scott) who is on a crusade to destroy Frankenstein’s plot, which he believes came from the Devil himself.
McAvoy might have the title role, but this is Radcliffe’s movie. He plays a complicated character who was enslaved by the circus, who didn’t know kindness until the mad scientist came along. He transforms. We watch him find purpose, learn to believe in himself, determine a moral code, and discover the true meaning of friendship. Radcliffe’s ambitious acting chops alone make this a must-see movie.
Good Time (2017)
Getting chased by the paparazzi was the perfect preparation for Pattinson’s role as Connie Nikas in this adrenaline-fueled crime thriller by directors Ben and Joshua Safdie.
As Connie, Pattinson is at times reminiscent of Jesse Pinkman in “El Camino.” Both films are non-stop, and the anti-hero protagonist seems in over his head. You constantly ask yourself, “Can he get out of this mess?”
Connie is impulsive, clever and charming, but he’s also arrogant and self-serving. You want to root for him, but you don’t know if you can trust him to make good choices. Much like Adam Sandler as Howard Ratner in the Safdies’ “Uncut Gems,” Connie thinks he’s one step ahead but is really getting nowhere.
Pattinson is magnetic as Connie. You’re glued to him, intrigued. Even if you disagree with his choices, you stick with him. This is a testament to the filmmaking and the writing but is largely Pattinson’s commitment to character. He really goes for it.
High Life (2018)
I was having a nice relaxing Sunday evening when I popped “High Life” into the Blu-Ray player. I was sucked into the "2001: A Space Odyssey" and "welcome to space” pace right away, but, at the same time, I had so many questions: “Wait, just Robert Pattinson and a baby on this spaceship? Why? And how? Corpses? Why are there corpses? What the hell happened?”
From beginning to end, “High Life” blends hopelessness and determination, courage and depression. Isn’t that what life is life for most single parents? It doesn’t matter if you are in space or not, and that’s the point director Claire Denis (“Beau Travail,” “Let the Sunshine In”) is trying to make. “High Life” might be about Death Row inmates being used as guinea pigs on a space exploration, but it’s also about the human condition.
As Monte, Pattinson puts on a powerful—albeit subdued—performance. He thinks there is nothing to live for until he becomes a father, but how do you raise a child when you don’t know where you’re headed or if there is any chance for survival?
That’s a great question the film asks, but first it has to answer all the other ones, which it does. “High Life” also features a triply, transcendent, sexy performance by Juliette Binoche as Dr. Dibs, whose sole mission is to accomplish the impossible: deliver a baby in space.
Pattinson also sings the song at the end credits (“Willow” with Tindersticks), his haunting vocals eerily reminiscent of Jim Morrison.
The Lighthouse (2019)
Filmed brilliantly by New Englander Robert Eggers (“The Witch”), “The Lighthouse” is an intense psychological trip based in 1890s New England about two men descending into madness as boredom and loneliness overtake them.
As Ephraim Winslow, Pattinson holds his own against heavyweight actor Willem Dafoe. He starts out as a quiet, ambitious employee grateful for the opportunity to learn, but isolation eats at him, as does the alcohol and the suffocating tension that continues to build between him and Thomas Wake (Dafoe), a ruthless, bitter, Ahab-like character prone to dark, desolate, depraved, drunken rants. For Ephraim, he’s working his worst job ever and he’s stuck there 24/7. Can you imagine? We’ve all had jobs we hated. We can relate with Pattinson. We can relate with his frustrations and can hardly blame him for his descent into madness.
“The Lighthouse” is a nightmarishly timely and outstandingly original horror movie. It’s also an admirable Pattinson performance. He shows off impressive intensity and insanity. This role will stay with you, as will the film. Spoiler alert: you won’t ever want to kill a seagull.
Tenet (2020)
Pattinson is one of the best parts of what many consider Christopher Nolan’s most ambitious and most visually groundbreaking film yet. As Neil, Pattinson is charming, winsome, and confident. He seems to have a better understanding of what’s going on than anyone else. This becomes clear in a startling revelation at the end.
You may have heard “Tenet” is confusing, and many come away with that sentiment. I had the good fortune of seeing this movie in the theater, and, as the credits rolled, a guy in the front shrugged his shoulders and said, “I don’t get it.” It requires your full attention and warrants a rewatch more than “Inception,” but there’s a lot that makes it worthy of another viewing: the cinematography, the stunning special effects, and certainly Pattinson’s performance.
The Devil All the Time (2020)
Pattinson plays a womanizing preacher who uses his seductive charm to lure in teenage girls. He’s despicable and knows it. He seems to get off on it. As Pastor Preston, Pattinson nails the Appalachian accent and convincingly embodies this crooked, manipulative character. The dialogue helps create this monster, too, with lines such as: “How could I be a daddy if all we done is spent time with the Lord?”
Instead of feeling ashamed, Preston denies any wrongdoing and considers his sins and the sins of the girls he preys on as “delusions.” You know it isn’t going to end well for him, and you delight in seeing vengeance play out.
“The Devil All the Time” is a Midwestern-Gothic film based on Donald Ray Pollock’s novel of the same name. It takes place in rural West Virginia and rural Ohio in the 1950s and ‘60s, weaving together a web of loathsome, violent tales. “Spider-Man” Tom Holland does an excellent job playing innocent, damaged, traumatized Arvin Russell. Bill Skarsgard plays Arvin’s father. It’s his best performance yet.
Adapted and directed by Antonio Campos (“Christine”), “The Devil All the Time” is not for everyone, but it’s a fascinating escape into the dark and depraved backwoods.
Charlie Denison is a freelance writer, musician, award-winning journalist, and 11-year DVD Netflix member who lives with his wife in Lewistown, Montana.
He's been featured in “Chicken Soup for the Soul,” “Montana Quarterly Magazine,” and other publications. Follow him on Twitter @charliebigsky.