Based on the true story of Operation Carwash, the largest and most successful corruption investigation ever seen in the world, "No One is Above the Law" tells, through the eyes of Detective... See full summary »
The super-elastic Mr. Fantastic, the force field-wielding Invisible Girl, the orange rock-covered Thing and the data-crammed robot Herbie make up a team of superheroes dedicated to thwarting would-be world-dominating villains.
NASA Deep Space Tracking Facility: Radar is picking something up. An object heading towards earth, L.A., at near light-speed. Impact: 9 seconds. L.A.: A boy, not even 10 years old, is being... See full summary »
Agents of an oil tycoon vanish while exploring a swamp marked for drilling. The local sheriff investigates and faces a Seminole legend come to life: Man-Thing, a shambling swamp-monster whose touch burns those who feel fear.
Matthew Le Nevez,
It's time for a young African-American to meet with his white girlfriend's parents for a weekend in their secluded estate in the woods, but before long, the friendly and polite ambience will give way to a nightmare.
Amidst a wild flat meadow encircled by an Edenic lush forest, a couple has cocooned itself in a secluded grand mansion that was not so long ago burned to the ground, devotedly restored by the supportive wife. Within this safe environment, the once famous middle-aged poet husband is desirous of creating his magnum opus, however, he seems unable to break out of the persistent creative rut that haunts him. And then, unexpectedly, a knock at the door and the sudden arrival of a cryptic late-night visitor and his intrusive wife will stimulate the writer's stagnant imagination, and much to the perplexed wife's surprise, the more chaos he lets in their haven, the better for his punctured male ego. In the end, will this incremental mess blemish irreparably the couple's inviolable sanctuary? Written by
After filming the scene in which Jennifer Lawrence hyperventilated (and production was put on hold while she was placed on oxygen), members of the crew came up with the idea to make Lawrence her very own "happy place"--a tent complete with gumballs and clips of "Keeping Up with the Kardashians" that play on a constant loop. See more »
When Mother breastfeeds her baby, during one shot, she has a scar on her forehead. During the next shot, there is not a blemish on her face. See more »
The music in the first half of the end credits is followed by a long period with only quiet ambient noise. The near-silence is broken when Javier Bardem's character's calligraphy is inscribed in white ink next to (and sometimes over) the remaining credits. See more »
This movie took my breath away. When the end credits began to roll, all I could think of was just how brilliant this film is! I was absolutely astonished by the level of craftsmanship on Darren Aronofsky's part, and just the sheer complexity of the writing. Aronofsky says he wrote the screenplay in six days, which just blows my mind. It is so intricate and delicately designed, that I don't know how he was able to write it in less than a week. I think it just goes to show how much of a pure genius Aronofsky is. This is a movie that is driven 100% by its story and its screenplay. Everything else, from the camera angles, to the score, to the performances, are in service to that script. So it's hard to sit here and say "Oh, well the cinematography is gorgeous" or "Jennifer Lawrence is fantastic in the film", because their purpose was not to stand out on their own. Everything they did was to enrich and drive forward this story, and that doesn't necessarily work for every film, but it absolutely works here. This film is made by the deep complexity of its metaphors and allegories, and by its social and theological analysis of our past, present, and future. Without the strength of its script, mother! would fall apart. Luckily, Aronofsky has crafted a masterful screenplay that works and plays on so many different levels...
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