mother!

Release: Friday, September 15, 2017

→Theater

Written by: Darren Aronofsky

Directed by: Darren Aronofsky

No one makes movies like Darren Aronofsky. Then again, does anyone dare?

With mother! the enfant terrible of modern Hollywood has produced quite possibly his most polarizing and interpretive work yet. That does take into consideration his previous effort, the controversial Noah epic. And I haven’t forgotten The Fountain (how could I?) Yet the plunge into absolute anarchy we unwittingly commit ourselves to in his new movie is so intense, so absurdly cruel and caustic that forgetting whatever hells he has put us through before actually becomes easier done than said.

Jennifer Lawrence and Javier Bardem‘s baptism into the world of Aronofsky has them playing husband and wife, living in an elaborate but lonely Victorian home in the middle of nowhere, USA. They’re working to rebuild after a devastating house fire. Well, “mother” has been doing most of the work, while her Husband — no character is given a name, just a label, one of the film’s many aspects open for interpretation — has been moping around, struggling with writer’s block. Ostensibly we are here to witness the evolution of a seemingly idyllic relationship and the sacrifices one must make to be a part of a marriage. The give-and-take dynamic that makes a relationship both a joy and a responsibility. Or something along those lines.

That’s the impression we’re given with mother!‘s quieter, though never comfortable, opening half anyway. But things take a decidedly nasty turn with the appearance of a supposed “doctor” (Ed Harris) on their doorstep, who mistakenly assumes their grand abode to be a bed-and-breakfast. The Husband, rejuvenated by the presence of an outsider, who also just happens to be a big fan of his writing, decides a sleepover is in order, much to the chagrin of “mother.” “Doctor” then invites his drunk wife (Michelle Pfeiffer in a searing role) to stay. Bizarre complications arise when their sons arrive soon thereafter.

From here, it’s a series of increasingly outrageous intrusions upon the sanctuary that is one’s home, which is then torpedoed into a brutal, often literal, assault on “mother” herself. I liken the experience to those college parties I attended that were simply overwhelmed with bodies. Parties in which anonymity could become dangerous in a hurry. The keggars where you start off recognizing 90% of the room but by night’s end there are strangers diving off the roof into the grass because “it looked like water from above.” Aronofsky takes the concept of an out-of-control bacchanalia to Aronofskian extremes, exponentially increasing the animosity between put-upon host and disorderly guest.

Admittedly, ‘ultimate party movie’ is a pretty basic read of the narrative — one in which elements of creationism, artistic narcissism, the state of the modern celebrity-fan relationship, and climate change denialism (or more generally, angry American politics in the age of Trump) are just as likely to be inferred. Some allusions are of course more debatable than others. mother! is steeped in Biblical references from which you can’t escape. You’ll find Cain and Abel in Domhnall and Brian Gleeson’s fraternal antagony; Jesus in “mother”‘s suffering. The way Bardem slots in between all of this becomes obvious even if you don’t devote all or most of your attention to the religious symbolism.

As much as the entire cast transform themselves here — I’m often left wondering what working with such an uncompromising artist does to those who answer the call — it is Lawrence’s brave (and bravura) performance that provides the lifeblood of the film — a slowly fraying tether between her humanity and the world in which she is forced to survive. During shooting, reportedly the actor had to be put on oxygen in between certain takes, hyperventilating well after the director had yelled “cut.” I suppose, at the very least the extreme conditions of mother! literally took Lawrence’s breath away. That should count for something.

For us, the masochists that we are, the ride is baffling and infuriating and similarly renders us breathless. The slow departure from any conventional sense of reality legitimately defies categorization and, to some extent, criticism itself. Everything you see in the frame can be symbolic or it can mean absolutely nothing. And maybe that’s all the film is, chaos that needs no justification. A giant middle finger to reason and logic. This is a modern Picasso that demands an audience, whoever that may be.

Recommendation: In the interest of full disclosure: using Aronofsky’s almost entirely fresh cast — only Marcia Jean Kuntz, here playing a “thief,” has had roles in previous films of his — as a measuring stick to judge whether the film is something you’ll like might be a bad idea. Better to prioritize director vs. the cast, because come the end of this you’ll no longer recognize Katniss Everdeen. And Anton Chigur was mean, but he has nothing on this guy. 

Rated: hard R

Running Time: 121 mins.

Quoted: “MURDER! MURDER!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

Run All Night

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Release: Friday, March 13, 2015

[Theater]

Written by: Brad Ingelsby

Directed by: Jaume Collet-Serra

Emotionally resonant, impressively acted and frenetically paced to a fault, the latest demonstration of Neeson’s physical and intellectual stamina may suffer from a case of ‘been there, done that’ but that’s more in reference to the general direction this new release takes and less to its personality. There’s no shame in repeating a formula . . . if it works. What’s that adage — if it ain’t broke, don’t fix it? Well Liam isn’t broken yet as this film proves; he’s got plenty left in the tank.

The 62-year-old Irishman crawls under the skin of what may be his most apparent antihero yet, Jimmy Conlon, a former hit-man with more ties to the mob than to his own family. When a thug, the son of one of Jimmy’s only remaining friends Shawn Maguire (Ed Harris) makes a sloppy attempt at disposing of unwanted evidence in the wake of a botched murder by tracking down an escaped ‘victim’ to Jimmy’s son’s home and attempts to clean house, Jimmy is awoken from a particularly brutal drunken stupor in an effort to save his son’s life. Michael (Joel Kinnaman, finally coming to life) hasn’t seen his father in five years since the death of his mother and finds the timing a little odd to say the least. Knowing full well what the consequences of his latest kill are going to be, Jimmy makes a strong case for Michael to trust his trigger-finger and gut instinct for just one night.

It’s clear we won’t be dropping the baggage of old age manifesting in bottomless drinks and endless cigarettes this time around: Neeson’s character once more gets to tout his miserable existence on this mortal coil as experience no one around him ought to share in, but within this fragile father-son dynamic the pain caused by his rejection from society — or those who haven’t committed murder for a living anyway — not only registers with the audience but it’s a burden that feels earned. If it’s not a better life Jimmy wants for his son and his family, which includes a regrettably disposable Genesis Rodriguez as his gorgeous wife, then it’s certainly anything but what the next 24 hours are going to offer.

As for those aforementioned consequences, Harris’ ruthless Shawn, whose previous claims of running a legit operation these days belie the monster dormant behind cold, blue eyes, stabs a man in the back no less than ten times with a large blade during a shocking sequence of mafia-related retribution. It’s not quite like Matthew 5:38 (“an eye for an eye, a tooth for a tooth”), but the allegory, even if as subtle as a backstabbing, works to heighten the tension. Every move Jimmy makes to protect his son Shawn mimics out of desperation — desperation with which we can actually empathize. Credit Harris’ gift for powerful acting. Credit screenwriter Brad Ingelsby for setting up the stakes sufficiently, as the fall-out between the two men culminates in a surprisingly emotional showdown.

Run All Night is of course not without its own missteps. Its many action-packed (read: very violent) scenes are spliced together with an energy that takes some effort keeping up with, even for director Jaume Collet-Serra. A dizzying blend of awkward camera zooms that whisk us from one section of the metropolitan maze that is Manhattan to the other and close-ups of characters at rest nearly results in nausea and does result in frequent detachment from the movie. Not to mention this story, though much more attentive to character development and emotional gravitas than the latter Taken installments, merely adds padding to Neeson’s post-Ra’s Al Ghul résumé. Run All Night is neither as poorly titled as Non-Stop nor as ill-advised as extending the legacy of Bryan Mills, yet it won’t survive the year in most moviegoer’s memory.

That doesn’t mean this isn’t a film worth checking out though. It packs a punch and has strong performances peppered throughout, unsurprisingly from its head honchos and even Joel Kinnaman. Yes, I do realize how much that sounds like hyperbole . . . but for once on this blog I feel like I’m underselling something.

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3-0Recommendation: Run All Night could have gone either way, but Neeson once again delivers, with dramatic heft and some interesting relationship developments backing him up. At his age this could easily have been Walk All Night, or Hobble All Night. Or Talk on the Phone Menacingly All Night. But this character feels a little more three-dimensional as does the narrative. May I suggest this one to the more devoted fans of the rugged and imposing Liam Neeson and some other big-named actors who offer solid work.

Rated: R

Running Time: 114 mins.

Quoted: “Tell everyone to get ready. Jimmy’s coming . . . “

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com