Psychological thriller from Oscar-nominated writer-director Darren Aronofsky (Black Swan). Stars Jennifer Lawrence and Javier Bardem as a couple whose relationship is tested when uninvited guests (Michelle Pfeiffer and Ed Harris) arrive at their home, disrupting their tranquil existence.
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BY Daniel Rutledge Flicks Writer
I'd put Darren Aronofsky alongside Quentin Tarantino, Paul Thomas Anderson and Martin Scorsese as one of the finest American filmmakers working today. His latest, however, is more like a David Lynch film: something challenging to decode that'll be hugely rewarding to some and simply frustrating to others.... More
Obsession plays a central role, as it does in all Aronofsky films, and overtly religious and political imagery feature throughout. But what this movie is all about will be dependent on the viewer - it could be motherhood (of course), the story of creation, the destructiveness of the male ego, celebrity culture, man vs nature, the place of women on the human stage, living with an artist, isolationism or any number of other things. mother! can also be read on its surface level alone as a disturbing tale about a woman going nuts in a potentially haunted house. Doing so will be disappointing, though, despite how incredible the spectacle is.
It's a difficult film to review, partly as the less you know going in, the more you're likely to get from it. But believe the hype: mother! goes to some truly crazy places. The third act features an assault on the senses that surpasses that which was built to at the climax of Requiem for a Dream. It's taboo-busting and intensely horrific in a way that flirts with the obscene more than any film with A-list actors has in recent memory.
For those who can overcome the shocking scenes and enjoy finding meaning in the absurdity, this is one of the most interesting films in years. It's extraordinarily acted, filmed and edited and while I wish there was a just a touch more clarity to it, it's the sort of wildly original beast I wish we had in cinemas more often.Hide
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BY mondoolix lister
Now, before I get my head chopped off - I understood the film. I got it. It was hard not to get it as it was as subtle as a brick through a window - and that was part of why I didn't connect with this film at all.
I would say that I was completely locked into this film for around an hour (at most). I was intrigued as to where the film was going and liked the religious nods throughout the first hour, but when I realised that this film is ALL about the religious... More allegory and that it wasn't going to be a frightening thriller, I was out. The performances were fine, but Aranofsky seem to be beating me over the head with his message screaming ' GET IT? DO YOU GET IT? GET IT NOW? YOU MUST GET IT NOW'
Yes, Aranofsky, I get it. I just hated how you went about it.Hide
BY fairbrother superstar
The film is fascinating precisely because it's a pretentious hack-job. It declares it's seriousness repeatedly, as if it doesn't trust the audience to realize this is "art" that means stuff, which - especially combined with a distinct lack of humor - makes it kind of risible. But any studio picture that dares to risk alienating a mainstream audience so drastically deserves to be seen for one's self. And there's no denying it gets under your skin and keeps you watching.
Emphasizing every squeaky floor-board and scraping tea-cup, the sound design jangles the nerves from the off. So do the jittery, claustrophobic handheld close-ups which make up the bulk of the footage. The performers commit to characters whose motives are left deliberately vague as their behavior spirals into weirdness. All of this layers some serious dread, and it is thrilling the way director Darren Aronofsky finally lets things explode, a sustained panic-attack in pictures and sound and fury...
Except there's no satisfactory ending. I was happy to go with the manic flow, secure in the belief Aronofsky knew what he was on about even if I didn't get it, but the last scenes cruelly expose the film's lack of any substantial unifying theory. A nightmare finally spread too thin, a fable without a clear moral, mother! is a hot mess of cocksure technique and muddled intentions.Hide
BY Beyond nobody
rarely a receiver
after youths addicted to sugar
after women dancing to Tchaikovsky
like most art, it’s flawed but not like any other.
the Rosemary’s Baby-esque poster
is not a coincidence
I also like his preference
of women, like the beautiful Jennifer Lawrence.
see it in a theatre
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