In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
Amidst a wild flat meadow encircled by an Edenic lush forest, a couple have cocooned themselves in a secluded 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. Then, unexpectedly, a knock at the door, the sudden arrival of a cryptic late-night visitor and his intrusive wife will stimulate the writer's stagnant imagination. Little by little, 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
Jennifer Lawrence got so much into her character that during the climactic scenes, she started hyperventilating and even cracked a rib. See more »
After one of the sons is murdered, the Mother fails to call 911. All she does is clean up the crime scene and dispose of the evidence, making her complicit in the crime, something her character does not demonstrate in any other sense throughout the movie. Although the household is descending into bedlam, and her lack of control became increasingly uncomfortable for the viewer, the fact she did not protest the murder felt ill placed within the broader context of the film. See more »
Try to imagine Darren Aronfski with all his talent, preparing Mother in silence working with great actors, re-polishing the script and without the weight of a huge budget. I'm sure Roman Polanski had pressure from the studio to make concessions here and there but look at Rosemary's Baby and tell me. What concessions? I heard Martin Donovan, the director of Apartment Zero, a few months ago, explaining why he hasn't made an American film in 20 years. It was an explanation I'll never forget. He didn't blame anyone or anything, there was no blame of any kind but a deep and I should say, humble reflection and the fruit of his reflection was expressed, beautifully, in his excitement as he prepares his next film. I remembered his words as I watched Mother! Try to imagine Darren Aronfski with all his talent, giving time for the baby to be totally form and ready to be born. Working with great, new, unknown actors, without pyrotechnics but just the truth within the symbols (if any) - I love Jennifer Lawrence and I would have loved to see her play this role at the time of Winter's Bone - regardless of her youth. I believe that small private dreams/nightmares should be told with a feeling of privacy. Think Roman Polanski himself played the meek tittle character in The Tenant and the journey in Mia Farrow's eyes throughout Rosemary's Baby, Colin Firth's invisibility in Apartment Zero. In Mother there is also a Luis Bunuel touch from The Exterminating Angel but in Bunuel we live the surreal mystery with all our five senses. In Mother, we keep questioning, at a distance. No matter how close you come with the camera. Jennifer Lawrence is lovely but she starts with fear in her eyes and she stays there throughout. Javier Bardem is a sloppy variation of John Cassavetes in Rosemary's Baby. Ed Harris, as usual, superb as the Sidney Blackmer of the situation and Michelle Pfeiffer, who provides the biggest and most welcome surprise in a character clearly based on Ruth Gordon's Minnie in the same Polanski masterpiece. For all of the above I felt, sitting through Mother! A long and irritating experience. Now, I'd like to set a complaint about this, who shall I call?
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