Mother! (2017)

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Director: Darren Aronofsky

Stars: Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer

House Party From Hell

With just six feature films under his belt, Darren Aronofsky is still one of the most innovative and striking directors working in Hollywood today. With his unique visual style he creates intimate stories which have the power to grip you by the throat until the very last shot. ‘Black Swan’ is probably my favourite film of the last decade so you can imagine my delight at discovering that Darren had been secretly filming Jennifer Lawrence and Javier Bardem in a horror film for God knows how many months. It was a shock well worthy of the cheeky exclamation mark pegged onto the title. It looked as though Darren had returned to his melodramatic roots after spending years working on a forgettable biblical epic.

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Although ‘Mother!’ also has biblical overtones, it’s perhaps less obvious than watching Noah’s ark rock around a stormy ocean. It is interesting to note, however the almighty split of opinions on Aronofsky’s latest work of art. People talk all the time about ‘marmite’ films, where critics and audiences alike seem to adore or outright detest a film for equally valid reasons and ‘Mother!’ is exactly that. Some find it tedious and ridiculous, whilst others find it gripping and intoxicating in the best possible way. I must admit that when I first saw the film, it completely went against my expectations and I was left sitting in a rare state of shock trying to process what I had just seen. Suffice to say that after about 10 minutes, my opinion landed directly on the ‘love it’ side of the fence.

The less you know about ‘Mother!’ the better the experience will be so I won’t delve into plot points. The biggest surprise for me was discovering how funny the film is. The trailers make it out to be like some sort of hardcore horror movie in the vein of ‘Rosemary’s Baby’ meets ‘Repulsion’ but I was amazed to find myself laughing so much, particularly in the first half. The preposterousness of the situations make for darkly comic viewing in a similar kind of way to ‘Calvaire’ a Belgian horror film with equally pitch-black comedy. It could be mistaken for bad writing, but it’s entirely intentional. It all comes from the fact that J-Law’s character is presented as the only sane person who the audience can relate to, whereas pretty much every other character is totally unrelatable.

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The film builds slowly but always intrigues. Just like Natalie Portman’s Nina in ‘Black Swan’ J-Law’s titular ‘Mother!’ character is always shown in tight close-ups with the camera intensely following her every move. It makes for claustrophobic and uncomfortable viewing at times, particularly as the action never moves away from the house, which makes the insane third act work even more effectively for it. The point of view is also very subjective, it’s made clear that Jennifer isn’t quite right in the head and we see all her strange and horrifying delusions as if we were in her shoes. It’s fantastically focused filmmaking (nice bit of alliteration there for you) which helps to build up the intensity.

The first half might seem more than a bit weird to most moviegoers but it isn’t anything compared to the hysterical second half which has to contain some of the most insane sequences ever committed to film. I won’t go into details but I was left feeling incredibly stressed and bemused which is exactly how the film wants you to feel. Visually it’s astonishing and some of the camerawork is dizzyingly terrific. It also contains some seriously shocking content which left my mouth agape and I’m someone who considers themselves to be a hardened horror nut. It’s the kind of big budget surrealism which is devastatingly lacking in Hollywood.

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Of course none of it is supposed to be taken at face value and there are plenty of metaphors to chew over after the film has finished. It’s just a shame that Darren and Jennifer have been so open about what the film is actually about as it means that the sense of mystery has gone already. The film could’ve and should’ve been left up to interpretation. Directors such as David Lynch and Michael Haneke would never dream of telling audiences what their films are about because every audience member’s ideas are valid and have meaning to them. Anyhow, although the metaphors and symbolism are a little heavy-handed in the film, they are no less brilliant and intelligent.

It’s also worth mentioning the excellent performances in the film. Although that really doesn’t come as a surprise when you have heavyweights like Jennifer Lawrence, Javier Bardem and Michelle Pfeiffer starring all in the same film. Each role is very challenging though and the fact that they all pulled each part off and made it believable is a credit to them. The real star of the show though is Darren Aronofsky whose directing style manages to unequivocally sweep audiences away on a mad, horrifying journey which isn’t soon forgotten. ‘Mother!’ is a very special film. It’s divisive but most great works of art are. You will get a strong reaction, no matter who you are or what that reaction might be.

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Twin Peaks: The Return

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Director: David Lynch

Stars: Kyle MacLachlan, David Lynch, Laura Dern, Naomi Watts

The greatest TV series of all time

It’s 11pm and I have just finished watching the last episode of Twin Peaks: The Return. Normally I’d give something else a watch before tottering off to bed but the images and ideas presented in the two-hour finale are relentlessly whirring around my head. David Lynch has done it again. 25 years ago he re-invented television with the original series which mixed offbeat comedy with pure horror and surrealism. Audiences were enthralled by the mystery of who killed Laura Palmer, only to find that the startling cliffhanger left in 1991 wouldn’t be resolved until 2017.

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David Lynch has had an exceptional career. Debuting with surrealist masterpiece, Eraserhead and providing us with horrific treats in Blue Velvet, Wild at Heart and Lost Highway. In 2002 he created what I believe to be the greatest film of all time, Mulholland Drive and seemingly disappeared off the Earth in 2006 after the impenetrable INLAND EMPIRE. However, we can now forgive Lynch for the frustrating ten-year hiatus because he has generously provided us with 18 hours of unadulterated perfection. The Return could very well be his magnum opus.

There has never been anything like this on TV and there will probably be nothing like this ever again, unless Lynch decides to delve back into the small screen again, of course. The series was shrouded in secrecy so people didn’t really have a clue what was going to happen when the two-hour opening aired. Unsurprisingly all expectations were cut dead within the first fifteen minutes. The whole season is nothing like the original run, in fact less than half the time is spent in the beloved town of Twin Peaks.

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This season is more interested in doppelgängers in Las Vegas, murders in South Dakota and frightening absurdities in the red room. Mysteries are constantly being raised and very few clear answers are ever provided. The series also runs at a very deliberate pace. Lynch really isn’t interested in wrapping things up quickly, in one scene we watch a man sweeping the floor for three minutes, yet somehow none of it is boring in the slightest. Instead we feel lost in an intoxicating dreamlike atmosphere where anything can happen. Many will find the lack of nostalgia and glacial pacing frustrating, but this is truly a ground-breaking work of art.

It also has to be noted that Kyle MacLachlan’s performance is the one of the greatest in TV history. It has to be said that he has never particularly shone in his acting career, aside from Dale Cooper (obviously) but here he does something extraordinary. Playing three different characters, MacLachlan shows an astonishing acting range and never fails to compel whenever he’s on screen. There are also memorable performances from Naomi Watts, Laura Dern and David Lynch himself, all in challenging and remarkably interesting roles.

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What’s really extraordinary about this 1000 minute masterpiece is that is manages to encompass every human emotion, often at the same time. At one moment side-splittingly funny, then pants-wettingly terrifying the next. There are also moments of desperate sadness, tension and surprise. What ever the feeling though, there is always a strong sense of mystery in the air. Don’t expect many easy answers though.

Many people were disappointed by the ending which offered absolutely no closure in the slightest. Much like the original series, the season ends on a extraordinarily haunting note. In fact, it could quite possibly be the most haunting ending of any film or TV show I have ever seen. Rather than providing answers, we’re left with even more questions than we had at the start but that’s where its brilliance lies. If Lynch gave us a cosy ending where all the pieces tied neatly together then we wouldn’t be talking about the series for years to come. There is so much to analyse and digest, fans will be picking this series apart until the end of days.

Unlike anything else on TV, Twin Peaks is always unpredictable. You can never guess what is going to happen next and although it isn’t easy to understand, it isn’t really supposed to be. This is an experience where you can leave your brain at the door and just go along for the sensational ride. Forget Breaking Bad. Forget Game of Thrones. Forget what ever you thought the best series on TV ever was. The greatest thing to ever grace the small screen is categorically and unquestionably, Twin Peaks: The Return.

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7 Shockingly Unexpected Movie Deaths That Had Us Gasping In Disbelief

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psycho(WARNING: This article contains huge spoilers for each and every film, so if you haven’t seen it, get watching!)

There’s nothing I love more than when a film surprises you. Too often nowadays, films are full of clichés that enable you to predict their every move. They’re too scared to depart from the formula in case they upset the audience or (more often than not) the studio. Some films dare to be different though and rip up the rule book, leaving us all bemused. Below are seven of the most shocking death scenes in cinematic history. These are the scenes that made us jump out of our seat in shock.

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10 Scariest Horror Movie Masks Guaranteed To Give You Nightmares

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Horror movies over the years haven’t had their shortage of nightmare-inducing images. One of the most popular ideas is to have a murderous psychopath terrorizing an innocent while donning a super scary mask. It’s a popular idea because pretty much everyone can get creeped out by it! Let’s take a look back at some of the scariest masks we’ve seen on our screens.

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The 7 Greatest David Lynch Movies Not Directed By David

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David Lynch is a director so distinctive that his style has been given his own term: “Lynchian.” Urban dictionary has the word defined as “having the same balance between the macabre and the mundane,” but it could also be used to describe a film that’s surreal or dreamlike. And while no one makes movies quite like Lynch, there are a few that bear a striking resemblance.

Audiences might feel a little Lynched out at the moment with Twin Peaks gleefully hitting our screens again every week, but when that’s over you know you’re going to need something bizarre to keep you sane. Below you’ll find seven films that all resemble a Lynch movie in different ways.

Read full article here:
https://moviepilot.com/p/greatest-david-lynch-movies-not-directed-by-david-lynch/4319510

7 Vintage Horror Movies Every True Horror Fan Must See

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If you’re going to call yourself a horror fan, then you’ve got to embrace every decade that horror has to offer. Some films age like a fine wine; sometimes I pick up a ’30s horror film DVD, shake it around and hold it under my nose to smell the oaky freshness.

There are some people who refuse to watch a film if it’s in black-and-white, and I find this baffling. Colour isn’t the essential ingredient for a good film! The most important elements are a good plot, innovative directing and compelling acting.

The following classic horror films have all of those ingredients and more. They’ve stood the test of time and are essential viewing for any self-respecting film fanatic. There are at least 10 more I could’ve added, but I finally whittled it down to these diverse slices of golden age horror. These aren’t in any order, as all are equally worth seeing for one reason or another, so take my hand as I lead you down the pavement of horror history.

Read full article below:

https://moviepilot.com/p/best-vintage-horror-movies/4139457

Twin Peaks Just Gave Us The Weirdest And Most Astonishing Hour Of TV Ever!

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It’s official! Showtime are the coolest network on television. They gave David Lynch a load of dollars and said, ‘go ahead and make whatever you want’ and he did. We’re eight episodes in to Twin Peaks now and it has promised to be just as ground-breaking as the original series back in 1991. We’ve had: talking electrical blob trees, charred tramps with floating heads, stab-happy dwarf hitmen and a haunted box amongst other demented things. There has been a narrative drive but the pace is so unapologetically glacial and ambitious that it has almost been impossible to follow. The show has been incredibly experimental and an absolute delight for Lynch fans so far.

However, with the latest episode David Lynch has broken the test tube. Just when you thought that this season couldn’t possibly get any weirder, Lynch brings us something which has never been done on film or TV before. It’s essentially a 50 minute acid trip designed to utterly assault your senses and it succeeds in the most mesmerising way. The episode starts off normal enough (normal for this show anyway) with evil Coop and his crony talking in the car on a Lost Highway-inspired night drive. Things go wrong though and evil Coop gets shot which results in the weird stuff happening. Lights flash in typical Lynchian fashion and ghostly tramps covered in black tar appear and tear apart Coop’s body for what feels like an eternity.

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We’re then left to contemplate this horrifying image whilst Nine Inch Nails play a full song at the Double R Club. It’s an interval which would feel distractingly out of place in any other show, but we’ve become so accustomed to the unpredictability of Twin Peaks now that the scene somehow works entirely and feels somewhat ordinary compared to what happens next. Bad Coop jolts up and all hell breaks loose.

Suddenly we flash back to New Mexico in the 50’s and move painstakingly slowly into an atomic bomb. Once the camera enters the cloud we’re treated to what can only be described as pure cinema. It’s something which cannot be described with words akin to the final moments of Kubrick’s 2001: A Space Odyssey and segments of Gaspar Noe’s Enter the Void. Bizarre images and a frightening score combine to create a hypnotic and alarming experience which feels like you’re taking a dreamlike journey into hell. It’s a scene which has to be seen to be believed and is reminiscent of the earliest short films by Lynch which used paintings and drawings as animation.

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Once we’re done with having a seizure, we move onto a slower and more soothing Eraserhead-type scene which sees the giant and a strange woman wondering slowly around a ball room of some sorts. It’s visually arresting and the black and white monochrome is startlingly beautiful. The giant floats into the air and a golden ball with Laura Palmer’s face rises out of his chest and melts into a projector screen which displays the world. It makes little sense, but I think we’re witnessing the birth of BOB in the atomic bomb and the birth of Laura’s soul in the red room. Perhaps Laura was created to lure BOB into the red room?

Moving forward a few years a pair of young sweethearts take a stroll home, an ugly bug hatches out of an egg and the blackened tramps are back terrorising people. In the previous episode, Jerry Horne stood outside looking terrified and shouted ‘I think I’m high!’ which is probably what most viewers felt like during this episode. You can theorise about what it all means, but it’s much better to just go along with the ride and feel what you’re watching. It’s pure art and it’s astonishing. People thought that we had reached the peak golden age of TV but David Lynch has proved just how powerful television can be and how it can be used as a medium for art. Drama conventions were torn apart in 1991 and Mr. Lynch has reinvented TV again in 2017. Damn fine.