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mother!

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Reviewers sometimes give away films without meaning to. In the case of mother!, Darren Aronofsky’s latest cinematic experiment, it is hard to give away anything because it is genuinely hard to say what the film is about or what happens in it. About the only consistent explanation for this tale of Mother (Jennifer Lawrence) and Him (Javier Bardem) and the events in their home is that it is a cinematic rendering of psychosis, but to describe it as such feels reductive. It could potentially be a supernatural tale of raising unearthly powers, but the film’s avoidance of indicative horror tropes undercuts that interpretation. Or it could be a dramatisation of the creative process, the characters metaphors for parts of the mind, but that explanation also fails to work across the whole film. What I can say is what the film does, which is put its viewer through a relentless, gruelling and singularly extraordinary experience. Aronofsky eschews narrative logic but offers just enough plausibility to keep the film grounded, while the ever-escalating pace of his direction increases the tension to nerve-shredding levels. Long, travelling shots mix with 360-degree pans, abrupt cuts and subjective angles that place us uncomfortably inside the action that takes place in a (literally) disintegrating location. The performances are superb, especially Lawrence who is onscreen virtually the whole time, her increased franticness becoming more and more hysterical, which is of a piece with the film as a whole. Bardem offers a calm contrast that is more chilling than comforting, while Man (Ed Harris) and Woman (Michelle Pfeiffer) are suitably disturbing. Quite what is going on is very open to interpretation, as is the film’s genre that combines jet black comedy with relentless horror with Biblical allegory and fantastical sequences. The only thing that seems certain is mother! will have an effect on you, but it is a film that demands to be seen, partly because it’s a bold, experimental and genuinely surreal experience, and partly to find out just what your reaction is.

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The Dark Tower

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A dark tower at the crux of dimensions. A mysterious and malevolent Man in Black. A noble ‘Gunslinger’, last survivor of a once noble lineage. A boy troubled by dreams of all the above. By a remarkable feat, the long-gestating adaptation of Stephen King’s epic series manages to utterly waste all this great potential. A wealth of material for the building of multiple worlds is hinted at without exploration, while relationships between characters occur without development, be they quasi-father/son of the Gunslinger Roland (Idris Elba) and the boy Jake Chambers (Tom Taylor), or the possible history between Roland and Walter, the Man in Black (Matthew McConaughey). To make matters worse, the action sequences are inert and the horror elements sterile, the filmmakers sanitizing suspense and tension out of the film by making it family friendly. Director Nikolaj Arcel previously helmed the superb A Royal Affair as well as writing The Keeper of Lost Causes and The Girl With The Dragon Tattoo, but here he and co-writers Akiva Goldsman, Jeff Pinker and Anders Thomas Jensen have delivered a limp and lifeless mess. There are some smirks to be had at fish-out-of-water comedy when Roland encounters Jake’s (our) world, and the cast do their utmost, Elba wielding his usual charisma while McConaughey shows glimmers of the menace he brought to Killer Joe. But whatever strength these performers might have generated seems to have been left on the cutting room floor. Furthermore, the potentially handsome production design and clumsy nods to other King works (at least eight) are largely obscured by pedestrian direction and frequently poor lighting. Adaptations of beloved books face the double-edged sword of being unimaginative by sticking too close to the source material, or deviating too much and thus alienating a potential audience. This is the least of the problems with The Dark Tower, but on the plus side seeing it did make me want to read the book(s), so as to get a better idea of the potential that this stillborn turkey squanders so badly.