Music and sound are not just elements that underscore select scenes in David Cronenberg’s Cosmopolis, they are each specifically discussed and used in the story itself. Cosmopolis follows 28-year-old billionaire Eric Packer (Robert Pattinson) as he drives around Manhattan over the course of a day, trying to get from one end of the city to the other to get a haircut. A seemingly simple premise, but as any Cronenberg fan (or those who have read Don DeLillo’s novel) know, it does not stay simple for long. It is clear that Eric is incredibly rich and his wealth has caused him to become removed from (although still amused by) the general population – a point that is further driven home as he travels through town in a showy, tricked out, bulletproof white stretch limousine. The score, created by composer Howard Shore and indie rock band Metric, may start the film at a kinetic pace with “White Limos” (which almost echoes the opening to U2’s “Where The Streets Have No Name”), but once Eric enters his limo it is not just the music that is suddenly stripped away, all noise evaporates once he is inside. We learn that Eric had lined his limo with cork to eliminate street noise and it is this lack of ambient noise that makes every move, breath, and grunt in his limo sound all the more intrusive and off-putting. Cronenberg does not let up with this complete lack of ambience, and it makes the expansive limo feel no bigger than