Mother! (2017)

[HorrorHR]

wtf

[HorrorHR]

ovo ima trailera i clipova gotovo kao AHS

[HorrorHR]

Aronofsky na /r/movies AMA (ask me anything) danas (13.09.2017) u 11 navečer po našem vremenu
https://www.reddit.com/r/movies/

[HorrorHR]

iz jučerašnjeg wall street journala - imaju clanak na dvije stranice o novim hororima:

A PIVOTAL SCENE in “mother!” is so disturbing that it’s hard to call this new film anything but a straight-out horror movie. Yet the moment also is meant to serve as an allegory of climate change, species extinction and other environ-mental woes.

[HorrorHR]

Iz jučerašnjeg Wall Street Journala, recenzija (John Anderson):

DIRECTOR DARREN Aronofsky’s Freudian, Polanskian, Goya-esque, primal-scream-therapy movie “Mother!” is either the beneficiary or victim of the most hyperventilating hype of the year. And that’s good if it keeps audiences coming to theaters, which is where this film needs to be seen to fully appreciate its disturbing pictures, skin-crawling sound, unbridled insanity, Matthew Libatique’s cinematography and Jennifer Lawrence’s face, upon which Mr. Libatique’s camera spends most of its time.

The hubbub is well-earned, but before “Mother!” gets where it’s ultimately going, i.e., completely off the rails, it spends time being several films, each with an intelligence, each with an agenda, each with an operating metaphor. It begins as an Albeeesque chamber piece about the sanctity of the home. It evolves into a hysterical statement about the price of celebrity. It eventually exits with a salute to “No Exit.” But let’s start with the house.
It’s an impossible house. Octagonal, like a stop sign no one heeded. Its interior is disorienting and our travels around it are circular, much like the story, and it’s hard for the viewer/visitor to understand how—or if—the space makes sense. A single viewing is not enough for one to say for sure, but it would seem that Mr. Aronofsky, like Orson Welles with “The Magnificent Ambersons,” created and shot his film using a dwelling with movable walls and an elaborate choreography of cast and camera that allowed for rooms and spaces to meld with other rooms and spaces.

The off-kilter architecture is certainly having an effect on Ms. Lawrence’s character, the otherwise unnamed “Mother” of the title. The young wife of an older, quasi-famous writer, she has been rebuilding their house after a fire, wall to wall, while her feckless poet husband (Javier Bardem) chases his muse. The house is going to be her masterpiece; she even hand tints the finishing plaster she applies to the walls (with a powder that is, suspiciously, the same color as the one she mixes in water and drinks each day, from a vial she might have gotten from Ruth Gordon in “Rosemary’s Baby”). She’s stripped the molding, is remodeling the kitchen, and is doing it entirely for her husband, whom she loves with all her heart—which we occasionally get to peek at during her various hallucinations, the angry organ pulsating and glowing and growing more ashen as the movie progresses.
Did we mention she sees things, including portents of visceral doom in the floorboards? She does.

Then—a knock at the door. A man (Ed Harris) arrives, claiming that he thought the house was a B&B. The husband invites him to spend the night anyway, to Mother’s dismay. When the man’s wife (Michelle Pfeiffer) arrives the next day with a mouthful of attitude, Mother begins to bristle, ever so gently. When the couple’s sons (Brian and Domhnall Gleeson) barge in, arguing over inheritance, assaulting each other and trashing the place, she grows more desperate. She’s been suffering stomach pains and clutching her abdomen, which in the basic movie lexicon means she’s pregnant. She’s not, yet, but her vulnerability is a source of tension, and she earns our sympathy for having been treated so rudely by her “guests” and so thoughtlessly by her husband. But her reasons for resentment have only begun.

So have ours. Mr. Aronofsky goes too far, it seems to me. He has always been obsessed with obsession (see “Black Swan”) and purgatorial suffering—the anguish of a junkie in “Requiem for a Dream,” the anguish of a prophet in “Noah.” With “Mother!” he seems to want to share the hell-
ishness more directly with his viewer, and this trip into his personal (very personal) underworld is both fascinating and repellent. What’s oddly comforting is the way the accelerating series of outrages against our heroine ultimately becomes farcical: When the film leaves the realm of the impolite or even criminal for something far more extreme, it achieves a level of excess that makes the whole enterprise increasingly cartoonish, rather than just awful.

Ms. Lawrence? For her, the movie is a tour de force, and probably not a bad thing for her brand, since it indicates she’ll do anything. The camera is almost never more than a few feet from her face, and in a movie that exists on the edges of absurdity and offense she delivers genuine emotion, with both sang-froid and virtuosity. It’s an interesting case, this “Mother!” It probably got made because of Ms. Lawrence’s participation, though the audiences she’ll be expected to attract by Paramount Pictures will likely be unprepared for what Mr. Aronofsky has wrought. The thoughts of these innocents are what I’d like to hear to fully understand what a monster “Mother!” really is.

[Michel]

Da, čitam recenzije od publike i kritike i sad me zanima. Svi koriste riječ intense i da je ovo psihološki mindfuck rijetko ikad viđen. I da je horor. Samo kad pročitam ne samo ovdje što si ovo stavio jedan quote već i na više mjesta o climate change, kako uništavamo planet i da je to neka alegorija ranit ću se. Jebala ih ta propaganda. Ne uništavamo planet, planet je tu milijunima godina, a mi jako malo. Planetu ide jako dobro.

https://www.youtube.com/watch?v=ko3w02ycBwI

https://www.youtube.com/watch?v=OCYc06bVo0E

Jebote, kad vidiš tko je sve za to globlano zatopljenje, koliko celebrity osoba, al gore (pedofilčina) i koliko nemoralnih nakaza od političara do zbilja svih izroda onda se počneš zapitati. Pa dobro, zašto ih to toliko zanima. Sve je to profit, Chomsky je to dobro rekao. Uostalom, stvarno ima graf koji pokazuje da globalno zatopljenje kao takvo ne postoji, barem ne ovako ekstremno kako oni ga žele prikazati. Sorry, nema veze trenutno sa filmom jer ga nismo pogledali, ali pošto se spomenuo u tom qouteu razmišljam na glas.

Uglavnom, sad me zanima film. Ne volim tog redatelja, ali volim Jennifer i psihološke horore tako da me jako zanima.

[HorrorHR]

majke ti a su se posrali svij po filmu
bas citam danasnji The Guardian, na naslovnoj strani piše "Wors movie of the century"

Cinemascore F

[HorrorHR]

“This movie is very audacious and brave. You are talking about a director at the top of his game, and an actress at the top her game. They made a movie that was intended to be bold,” said Paramount worldwide president of marketing and distribution, Megan Colligan. “Everyone wants original filmmaking, and everyone celebrates Netflix when they tell a story no one else wants to tell. This is our version. We don’t want all movies to be safe. And it’s okay if some people don’t like it.”

[Michel]

majke ti a su se posrali svij po filmu
bas citam danasnji The Guardian, na naslovnoj strani piše "Wors movie of the century"

Cinemascore F

Di si to vidio jer su dali 5/5

https://www.theguardian.com/film/2017/s ... ofsky-film

Can the Jennifer Lawrence horror really be ‘the worst film of the century’?

[HorrorHR]

u papirnatom je "‘Worst movie of the century’ Why audiences are giving Mother! an F"

[HorrorHR]

može biti to, nije bilo članka u PDF-u, samo naslov na frontpageu - članak je bio u G2 dodataku The Guardiana koji nije bi attachiran

[HorrorHR]

Outside the top five, Darren Aronofsky's mother! dropped 57% after its disappointing debut last weekend, bringing in an estimated $3.26 million for a domestic cume now totaling $13.4 million.

[hitman_4]

Mother je horor za hipstere

[Michel]

Misliš za snobove jer filmski hipsteri ne postoje. To jest hipsteri su subkultura (brade, one naočale kao modni dodatak i one pripijene hlače). The Smitsi i Morrissey su to započeli. Ne postoje filmski ili glazbeni hipsteri. Samo snobovi http://www.urbandictionary.com/define.php?term=Snob iako i to nije točno jer ako se nekome svidi ovaj film, ne znači da je on sad u nekom specijalnom društvu. Ustvari, po meni su snobovi samo oni koji optužuju druge da su snobovi/hipsteri.

Znači, ako netko drka na art film, a pritom nikome ne nameče svoje mišljenje već sam obožava taj film, a pritom mu dođe neki lik i kaže mu "gle ovog snoba/hipstera", e upravo taj koji je to rekao je vrlo velika vjerojatnost da je snob jer se osjeća ugrođeno samo zato što netko voli neki film.

Ima dobrih art i loših filmova. I tako je sa svime ostalome. Ustvari, onda je i svatko tko voli Kubricka snob, svatko tko voli Bunuela snob. Po meni nisu, po meni su to izmišljeni termini samo da bi se spustilo sugovornika. Još ne shvaćam zašto bi nekome smetalo što mu valja određeni film. Najbolje trenutno vidjeti na temi It gdje se jedan buni jer je film prerada lol

[hitman_4]

To jest hipsteri su subkultura (brade, one naočale kao modni dodatak i one pripijene hlače).

+ plug u uhu