You give, and you give, and you give. It's just never enough." Perhaps the most abstract film I've watched since Shutter Island - Darren Aronofsky's Mother! is a psychological horror based on the nightmares of a mother. In my opinion, this movie perfectly depicts all the things that I believe my own mother would be distressed by. This has all the makings of being a paranoia-inducing film that will make you question your privacy, your identity and your own role in life - whether you're a mother or not. The concept itself has a great premise and ending, but along the way, the film loses itself in sloppy screenwriting and forgetting to inform the audience of its own intentions. Aronofsky's attempt at horror is commendable, but I think the build-up required more exposition for the audience to be fully invested.
To begin with, I'd like to praise the cast for their emotionally-resonant performances - never is there any doubt that these characters feel all that happens around them. Every horrific occurrence is reinforced with Jennifer Lawrence's gut-wrenching emotion, made even more prominent by the fact that the camera follows her around the house for the majority of the film. Javier Bardem plays a more sincere character than usual, which means he gets the chance to explore his acting skills a bit more (much better than Pirates of the Caribbean ever gave him a chance). His character revelation towards the end is more meaningful with Bardem's performance of love and devotion that is so obsessive it's almost terrifying. Ed Harris and Michelle Pfeiffer also provide great supporting roles, meaning there's a few more layers of intrigue to explore. Pfeiffer certainly has an evil turn as her character questions Lawrence's character for her failed attempts at motherhood. I think a lot of people will find the film frustrating, simply because there are barely any answers to anything until the final moments. Some might call it tedious as events unfold with nary an explanation until the revelation is finally given as to why the audience is subjected to the relationship of a writer and his wife in a formerly-destroyed house. There's a lot of small details to take in, and everything soon becomes overwhelming when the mother starts to become surrounded by the hordes of people who come to visit her home unannounced. In truth, it's a harrowing experience to find a stranger wandering your house or using your facilities without even asking for permission. Let alone thousands of people. There are a lot of themes to explore, and it's why I'd recommend (if you have the patience), to watch this film a number of times to pick up on the symbolism and dramatic irony that is riddled within the film. Small moments such as when the mother's baby kicks inside her womb, her husband has opened the front door. A subtle, yet interesting, detail that could mean the difference in this film between reality and insanity. In particular, her husband (known as Him in the credits) is worshipped almost as a deity following the publishing of his new poem, which leads to the mayhem that ensues in their home, and ultimately leads to the death of her baby. This surprising and incredibly claustrophobic portrayal of obsession is perhaps a mirror of modern day obsession, and the violence that develops from that obsession can be the death of that obsession, ironically. This is one of the many abstract elements that continues to fascinate me about this film. Not only has Aronofsky decided to touch on the emotional variations of the mother, but also on the thematic importance of a deity and his subjects - made even more horrific when her baby is embroiled in the obsession. One thing that can't be faulted in this film, is the sharp and disorientating directing. The camerawork is so visceral and flexible that it can make the audience feel sickened by the events around the mother or by her side. Aronofsky's decision to stick by Jennifer Lawrence throughout the film means that there's more meaning in the portrayal - perhaps she is the only window into this strange world. Moments such as when she sometime steps outside and can only hear silence, coupled with whenever she touches the house, she can see a heart beating, gradually transforming into a blackened heart as the story goes on. The writer and director has clearly thought out everything, but perhaps in making the film he has forgotten to take us along with him. Unfortunately, due to the lack of explanation for all the small references, and some strange decisions made by the characters, we're left blindsided by the onslaught of story. Equally, the screenwriting doesn't provide enough detail to explain the different reasons for all the people who turn up at her house, especially during the maniacal raids. Lastly, this is an incredibly violent film. From the beginning, it may not seem as though anything is coming to fruition, but as the strange events move forward, you start to feel uncomfortable for the mother as she is subjected to all sorts of psychological torture, sometimes unwittingly by her husband. The scenes involving her newborn baby are some of the most horrific scenes I've seen in my lifetime, and it underlines the heavy thematic subjects that Aronofsky wanted to question. Obsession is an incredibly dangerous emotion to have, and it can sometimes lead to the most devastating of conclusions. The one main concept I fully understood about this movie is that home is where the heart is. The perfect loop that Aronofsky creates inside the story at the beginning and denouement is well explained, and the significance of the jewel precious to him is also given clarity. In that respect, the symbolism is incredibly poignant and transcends the role of a mother as someone who provides warmth and comfort to a house that might as well be a skeleton of its former self. But, it's just a shame that this simple concept is bogged down in many other themes that Aronofsky wanted to raise. Nevertheless, the combination of powerful directing and performances, plus the complete lack of soundtrack, makes this a film you won't forget quickly. 7.5/10
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What am I, then? An ignoramus who has to have things summarised by her husband?" The second episode of the second season offers a more light-hearted tone to the historical drama, but also balances a relationship obstacle for Queen Victoria and Prince Albert. Both are juggling their marital and occupational lives, which sparks a conflict of jealousy and miscommunication. There's a welcome return for Lord Melbourne as well, as Rufus Sewell gives another understated performance as the former Prime Minister. I particularly appreciated an emphasis on science, being a physics student myself. It's nice to see the Royal Society playing a close part with the royal family.
The feud between Victoria and Albert does have moments of incredulity, but it mostly follows on from last week's trepidation. Victoria continues to feel as though the men around her would prefer that she remain in the nursery rather than be in charge of sovereign duties. Thus, it's quaint to see her revisiting Lord M in an effort to find familiarity once again, as a way to countermand the fact that Albert always appears to be many steps ahead of her - especially in his newfound interest in mathematics. The scene discussing the theory of pi was both well written and well acted, giving us a clear sense of the trench that Victoria feels between herself and her husband. As usual, Lord Melbourne has the common sense to interlude their private meetings and give his opinion on Victoria's possible misgivings. His letter is a great way to say goodbye to the old and usher in the new. This is the clarification that Victoria needs to communicate with her husband once again and trust him to believe in her and bury her irrational fears about Lady Lovelace. The final scene between the Queen and Prince is a sublime way of asserting their new trust for one another as they welcome a new child. Other storylines in the story took a more comedic route. The Duchess, played unquestionably well by Dame Diana Rigg, is attempting to entrench her authority in the palace, but finds that things are not going as planned. The whole plot behind the boy loose in the palace was a bit strange and unconnected and without resolution felt inconclusive as a whole. Though it did provide some funny moments with Miss Skerrett's new assistant, Cleary, who fears there are ghosts loose in the palace. I'm pleased that Daisy Goodwin is succeeding in continuing other plot points as well, though sometime with so much to cover, certain elements are rushed. It doesn't take long to understand what's going on with Lord Alfred, but references such as the Duke of Coburg's sexist views and the Duchess' racist ones holds well for the time period. There's certainly enough exposition to ensure that we're fully immersed in Victorian times and are not distracted by any historical inaccuracies. In short, the show is progressing nicely and that we're easily divulging into Victoria's tumultuous life as leader of Britain. 8/10 This seems like a good time for a drink, and a cold, calculated speech with sinister overtones." Game of Thrones has a rival, in the form of Adult Swim's madcap, unconventional and paradoxical Rick and Morty. This little animated gem has always been known for successfully parodying other shows and recurring dark themes. Its prominent staple is to bombard the audience with a string of hilarious banter before dropping the ball on an unexpected revelation. These revelations have come uncommonly in the past, but this season has proved to have more than one surprise waiting around the corner. Indeed, this season has concentrated on character study - particularly how Morty and Summer have been affected by their parents' separation and the resulting emotions. This episode, however, looks to the wider universe of the show and explains what consequences Rick's actions have had on the Citadel of Ricks.
The thematic essence of the episode is all based on diversity - simple a world of Ricks and Mortys and how they are perceived in society. It's incredible how the writers can construct an entire reality based on the relationship between a man and his grandson. This unusual template for relationship is the basis for this new, confusing society, following Rick's demolition of the Citadel of Ricks. We get liberal glimpses of different members of society - Morty schoolchildren, police partners Rick and Morty, a Rick employee at a wafer factory and a Morty presidential candidate. All these storylines converge to make up this wonderful world of Ricks and Mortys without much effort, and everything is in such semblance that it's easy to jump from one storyline to another. The overall breakdown of society is incredibly clever and each element contributes to the big climax in which an old character returns to make his mark. All the stories seem to work so well together - probably because they are parodies of cult fiction. The school Mortys traveling to the Wishing Portal is, I believe, a parody of Stand By Me, and demonstrates the still childish side to Morty where he's seeking independence from Rick. The whole story around one Morty being assigned to many Ricks is a great way of reintroducing and analysing that relationship that we know so well, where society is built and given foundation by the cooperation of both characters. His sacrifice for change at the end is meant as symbolism for Morty's fall into darkness. The wafer factory storyline gives us Simple Rick again, with a noir storyline involving an employee fighting back against an institution. This is a jab at Rick's character, one in which he can't be suppressed and constantly needs to be the best of the best. Self-indulgent as it is, the idea of wafers coated in the happy emotions of a Rick being distributed throughout the society is both creepy and haunting. I also enjoyed the jibe that Rick is always considered to be a terrorist, and that is his basic function. The police partnership story is an interesting story, seeing as it is opposite to what we're expecting in the character's relationship. Here, Morty is the wiseman and Rick is the cautious, rulebook persona. Clearly parodying The Wire, this is an exercise in definition for the two characters. Morty seems to have little regard for his own characterisation, and yet Rick has full compassion for it. There's a hint of an upcoming confrontation as Rick makes a terrible decision to stop cop Morty and his tyrannical nature. The final storyline covers the presidential race as an underdog Morty comes from being ridiculed live on stage to being the most preferred candidate above the rest, simply because he understands the gaps in society - places where effectively their characterisation is flawed. There's a great buildup in the middle of the episode as it is hinted that this Morty is perhaps not what he seem, and the Morty who was fired discovers some unpleasant secrets. Indeed, this solidifies the connection to Close Rick-counters of the Rick Kind, where the Morty who controlled Evil Rick, now loose in the Citadel, has risen to the most powerful position in the society, on the basis of lies. The accompany music wonderfully ushers in the conclusion as we're left with a revelation that could mean a major turning point in the show. One where our Rick and Morty are in mortal danger, either from exterior forces or from each other. Hands down, this is the greatest episode of Rick and Morty yet - tying together a number of storylines that have been left hanging and also teasing us with an Atlantis trip, when actually it was all a decoy. In a mere twenty-two minutes, this show has covered a number of heavy-going themes and succeeded in preparing the audience for a big conclusion this season. The writers continue to show-off their skill for the unexpected and have thrown a curveball that could be the defining moment in the show, one that is almost a parody of itself, but one that is so successful that the jokes are less funny, but more poignant and dark. There's a distinct shift into darker territory as the true enemies are highlighted. I for one am intrigued to see the final three episodes, and I expect a lot of cameos and surprises. 10/10 Believing in yourself is everybody's magic." Despite a few indiscriminate missteps in the final third of Season 2, Little Witch Academia ends on a more than satisfactory note. Above all else, it succeeds in bringing all of its characters together for the final extravaganza in which the Triskelion is finally discovered and the true enemy is revealed and, rapidly, destroyed. Thankfully, in light of my criticism for some of the character development, Akko gets a well-deserved transformation in the final episodes as she finally understands the true meaning of her destiny. Corny as it is, kids will certainly enjoy the empowerment of the protagonists.
The final chapters are set up well as Chariot, in the guise of Professor Ursula, rediscovers her past with Croix and reveals all her secrets to her favourite student, Akko. In an emotional revelation, we are given, with exquisite surprise, the context of why Chariot decided to hide her identity. It seems that Chariot's performances to the masses caused the onlookers to lose their magical powers, and sadly this is why Akko struggles to uncover her talent. The cliffhanger is an emotional climax, as not only does Akko feel like her heroine and entire life potential has been decimated, but Croix takes the upper hand with her new technology to use Human beings as the vessel for unlocking the Triskelion. The following episode is a great build-up for the finale as Akko's friends and colleagues try to locate her after the terrible truth was introduced. Yesterday is a great way to quickly and successively reassert our knowledge of how each character reacts to Akko and her gradual development into the magical world. I particularly admire Diana's development as she now sees Akko's kindness towards her during her harrowing time at her family's home as the beginning of their thriving friendship. It's also helpful to get a full, chronological depiction of Chariot and Croix's relationship during their early years at Luna Nova. The Road to Arcturus sets up an epic conclusion, certainly, but perhaps it is overwhelmed by the revelations that have come shortly before it. Seeing a number of characters in one place and returning to the Forbidden Forest from the first episode is exciting, but the resolution of Croix's quest for the Triskelion loses its way in the grandure of that moment. However, it seems the technology that Croix devised in finding that Rod becomes independent and starts to use the negativity of the local population as fuel to create a makeshift weapon for mass destruction. As crazy as it sounds, this was the cliffhanger we were given for the penultimate episode. Indeed, this is where I divulge my disappointment as Little Witch Academia turns to a completely different show in order to incorporate a conclusion for Andrew who has seemingly spent the last four episode trying to return Akko's hat. Whilst a love story doesn't come into fruition, Andrew's political connection is used as the motif for the incoming disaster. On a positive note, I liked the fact that references from previous episodes make an appearance including the Shooting Star, which helped Akko, Diana and all their friends remove the danger. The final moment of the finale are also very heartfelt as Croix promises to help Ursula following her encounter with the Wagandea curse, and, more importantly, Akko succeeds in flying her broom for the first time. If this is to be the end of this quaint little anime series, then it would be a shame. The potential is astounding with the premise and the setup provided throughout, but the finale of season two lacks the general charm and wit that was present in many other episodes. Whilst most of the support plots were given answers, there's a lot more to elaborate on and perhaps more histories to uncover for Akko and her friends to investigate. Apart from Diana Cavendish, the supporting characters have had barely any background extrapolation and so there's definitely more room for improvement. Otherwise, there's a lot to enjoy on the uneven two seasons so far. Chapter 22: Things We Said Today - 8.5/10 Chapter 23: Yesterday - 8/10 Chapter 24: A Road to Arcturus - 8/10 Chapter 25: Changing at the Edge of the World - 7.5/10 |
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October 2017
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