“Eternal order is prescribed by the sacred engine: all things flow from the sacred engine, all things in their place, all passengers in their section, all water flowing, all heat rising, pays homage to the sacred engine, in its own particular preordained position”.
“A blockbuster production with a devilishly unpredictable plot”, says character Wilford in Snowpiercer. That is what this film, directed by Bong Joon-ho (Parasite) and based on the French graphic novel Le Transperceneige, also is. In this story, there is one post-apocalyptic world and one “self-sustaining” train makes it rounds around the world. On board are human survivors who are divided into strict social groups with one unfair regime governing them all. At the bottom of the social ladder (and the train), one can find the poor masses who are dressed in rags and survive on protein bars, and, at the top, there is the elite, consisting of a few individuals who ruthlessly preside over the masses, while enjoying the luxuries of life. When one man from the bottom of the train sparks the rebellious spirit in the masses, he does not even begin to imagine the complicated way to the top of the train nor what awaits him as he nears the real power propelling the train forward. Snowpiercer is not one’s ordinary action or sci-fi film; wrapped in philosophical reflections and delicately balancing humour and horror, and realistic action and allegory, the film defies expectations, requiring both a leap of faith and open-mindedness from the audience.
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<<<I took care not to reveal any specific spoilers, but some discretion when reading is still advised>>>
Darren Aronofsky’s “Mother!”….I am happy to report that there is no need for some mass panic. “Mother!” may start slow, but it proves to be a very enjoyable “descent” into sheer madness overall. The initial story here is Him (Javier Bardem) and Her (Jennifer Lawrence) settling into a married life in a country mansion, until one couple (Ed Harris and Michelle Pfeiffer) become their pestering lodgers against the wishes of Her. Ironically, the main flaw of Aronofsky’s psychological horror film “Mother!” is that it is not his first film. If it were, it would have been a masterpiece of achievement. Instead, “Mother!” is just the “recycling” of the elements/tricks present in Aronofsky’s previous films. How does this affect this film, one may ask? Well, Aronofsky’s “recycling” of his ideas reduces the overall effect, impact and unpredictability of “Mother!” by as much as 80%. “Mother!” formula is quite simple to understand. The film is structurally and archetypically “Black Swan” (2010) + touches of some “over-the-top” home invasion and “Rosemary’s Baby” (1968). This is all to it. And, where it is not all, it also incorporates, quite evidently, Aronofsky’s artful orange-colour bursting creativity and philosophy we have all previously seen in “The Fountain” (2006) and biblical/allegorical references. The saddest thing here is that the film is quite entertaining and even brilliant in parts, and the premise would have been completely unforgettable had Aronofsky been more original in his work.
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Here’s just a hint of what happens when you turn a top-flight director, “Black Swan” maestro Darren Aronofsky — and two Oscar winners (Jennifer Lawrence, Javier Bardem) loose on the horror genre. Can “Mother!” survive the inevitable build-up of expectations that such potential generates? The first teaser trailer, here, gives us a hint.
via First Teaser trailer — Aronofsky’s horrific “Mother!” — Movie Nation
Aronofsky’s previous film “Noah” (2014) was bearable at best. Here, he may look to revert back to “Black Swan“(2010)-like psychological thriller/horror, but despite the talented cast, I am afraid he could fall short on originality (stranger(s) coming to live in one’s home?), and on intelligence. With films like this, it is important not overthink things, and looking at the film’s title and its poster, it could be nothing but over-stylised mayhem. The film is also set to compete at the forthcoming Venice International Film Festival.
‘Tell you one thing—can’t beat the view’ (Matt Kowalski in ‘Gravity’).
This latest critically-acclaimed film from Alfonso Cuarón comes as the culmination of a four years’ wait for technology to catch up with the director’s ideas, similarly to Cameron’s ‘Avatar’ (2009). In ‘Gravity’, we see mind-blowing visuals of the outer-space, beautiful shots of the planet Earth and exhilarating special effects. The film itself depicts two astronauts, Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) who are left stranded in the open space trying to get back to Earth while their supply of oxygen is running out. Meteors and flying debris are just examples of the dangers they have to face on their journey back.
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A History of Violence (2005)
David Cronenberg’s ‘A Dangerous Method’ (2011) is coming to the UK’s cinemas in February 2012, giving a good pretext to review one of the director’s most violent, action-driven and thought-provoking films – ‘A History of Violence’. Cronenberg excels himself in this film, blending a complex personality study and raw violence to a very satisfying result.
The film’s plot is straightforward. Tom Stall (Viggo Mortensen) is an ordinary, law-abiding family man who runs his own diner in a small town in the US. His settled daily routine changes when he involuntarily becomes a local community hero after protecting his employees from some vicious gun men. From then on, his family is stalked by members of an Irish-American mob who are convinced that Tom Stall is Joey Cusack, a man from Philadelphia with a violent past. His wife Eddie (Maria Bello), his son Jack (Ashton Holmes) and his young daughter all feel overwhelmed by the changes. After a shooting incident, whereby Tom kills one of the mob guys, Carl Fogarty (Ed Harris), Tom finally confesses that he was Joey in the past, but has left that life for good. Later, Tom receives a call from his brother Richie Cusack (William Hurt) telling him to come to Philadelphia to see him. Tom does just this, and after a confrontation with his brother, kills him. The ending, depicting Tom coming home from Philadelphia to find his family at a dinner table, is very thought-provoking because, although his children are seemingly prepared to forgive him, it is unclear whether his wife is capable of accepting him into her life again.
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