Let’s face it: Darren Aronofsky’s mother! is not the best nor the worst movie of the year, or the decade, or of all of movie history. It’s an average piece of art from a filmmaker who, after making Noah in 2014, has used another narrative from the Bible, i.e. the Garden of Eden, mixed it with ecological concerns, and made a mildly interesting story out of it. The main problem I have with mother! is its lack of surprise for all of its two hours. Once you get that the Jennifer Lawrence character is some kind of Eve and ecological earth mother whose universe is the house she lives in, the rest sort of falls into place. The movie has only three kinds of scenes: Lawrence’s point of view, Lawrence in the frame, or shots over her shoulder. It’s the earth mother’s story and how her realm gets invaded by careless, selfish humans. She has built that house herself and will never leave it – the porch is as far as she will go. She can feel the house’s beating heart getting poisoned by unwanted intruders. The invasion is gradual, but unstoppable, and you know well before the end that we will be back at the beginning, where the house is in flames, with the earth mother dying in it, and her husband placing a diamond on its little altar so that the house can heal again. And so on. Continue reading
Richard Curtis, I’ll happily admit: your 2013 film About Time made me smile, laugh and shed a manly tear. Okay, not quite, but I found myself touched and moved. It also made me want to shout obscenities and throw things at the TV, and not in good ways: About Time can be witty in one scene and trite in the next, it has moments of poignancy and others that are saccharine, and it manages to come off both charmingly self-effacing and smug under the disguise of glib humility.
Perhaps it’s difficult to imagine how such an overtly inoffensive film could leave me so angry when I’d actually say that I enjoyed a lot of it. About Time is that most common of genres, the time-travel rom-dram-com, and the way it brings together its outlandish conceit may be one of the things I liked best – like all the men in his bloodline, the main character Tim (played by Domhnall Gleeson) can travel back in time within the limits of his own life, making changes as he sees fit. Why? Dunno. How? He just needs to go and stand in a dark cupboard, clench his fists and concentrate. In one of many lovely father-and-son scenes, Tim’s dad (Bill Nighy, as charmingly odd as ever) basically gives his son a Curtisian version of Looper’s diagrams-and-straws speech which boils down to this: shh, it’s silly, let’s have some fun with this, okay?
Can a machine ever be truly intelligent? Can it have feelings? If a machine fakes these things convincingly enough, at what point does the appearance become the real thing? Whatever the answer, Hollywood tends to remind us that it’s a bad idea to fall for robots and AIs, however seductive they look and however much they sound like Scarlett Johansson. Ex Machina is not alone in dramatising the Turing Test, but Alex Garland’s first film as a director is definitely a striking addition to the genre.