When their headquarters are destroyed and the world is held hostage, the Kingsman's journey leads them to the discovery of an allied spy organization in the US. These two elite secret organizations must band together to defeat a common enemy.
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
Darren Aronofsky submitted a written statement about the film when it premiered at the Venice Film Festival, in which he revealed that he wrote the first draft of the script in 5 days ("a fever dream," he called it) and that the idea was inspired by current events, "the endless buzzing of notifications on our smartphones," and his experiences going through Hurricane Sandy in downtown Manhattan. "It is a mad time to be alive," he wrote. He also wrote that the film should be "drunk as a single dose in a shot glass. Knock it back." See more »
The first time Mother calls 911 and hangs up after it was answered, the 911 dispatcher doesn't attempt to call back. In reality, 911 would immediately call back on a hang up call. 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 »
I have a nagging feeling that the raves come from people in their 20's and/or younger. I maybe wrong but the debate erupting from this movie reeks of youth. Something similar happened with Terrence Malnick's The Tree Of Life. People either loved it or hated it. From my own personal POV the only different between The Tree Of Life and Mother! is that The Tree Of Life was a masterpiece without any visual cope outs and, perhaps, the only commercial concession were in big star names but even then Brad Pitt gives one of the best performances of his career. Mother ! Is not a masterpiece, not to me anyway. I couldn't connect. Was it a comedy of the absurd? When I saw all the people dancing and partying in the house I had a flash back to Blake Edwards's "The Party"Jennifer Lawrence is a truly gifted actress and beautiful to boot and, quite clearly, she put herself in Darren Aronfski's hands, She, the mother, calls out "Baby"? Hoping to find her husband - She is a Saint Joan half burned already. That truly puzzled me. Can you please give us time to connect with her? A few minutes. If you remember Mia Farrow's Rosemary
She was, emotionally, so far away from what she's about to confront.
Polanski takes the audience through her journey and we're with her, every step of the way. What makes it so terrifying is the veil of normalcy that surrounds the proceedings. In Mother, the surreal takes over the atmosphere and destroys it. We can keep a distance without really participating. The same can be said of Ed Harris and Michelle Pfeiffer - They are a welcome, semi-camp addition at the perfect time and then, they disappear. The glory of Ruth Gordon and Sidney Blackmer in Rosemary's Baby is that their intrusion is taken all the way through to extraordinary results. And Javier Bardem/John Cassavetes? If you're interested watch Rosemary's Baby again like I did last night, 24 hours after seeing Mother!and then you tell me. In my modest opinion one is a flawless masterpiece the other is just okay.
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