Mother!

Tags

2010's, Brian Gleeson, Darren Aronofsky, Domhnall Gleeson, Drama, Ed Harris, Horror, Javier Bardem, Jennifer Lawrence, Kristen Wiig, Michelle Pfeiffer, Mother!

Film Title

Mother!

Director

Darren Aronofsky

Starring

• Jennifer Lawrence as Mother
• Javier Bardem as Him
• Michelle Pfeiffer as Woman
• Ed Harris as Man
• Domhnall Gleeson as Oldest Son
• Brian Gleeson as Younger Brother
• Kristen Wiig as Herald

A delirious and disturbing horror/drama movie that both enthralls and annoys, Darren Aronofsky’s Mother! is the definition of a divisive movie. I remember hearing all the buzz about the movie being one of the riskiest studio releases in a long time, and I won’t argue there. But the film squarely falls into a mixed category as to its value and what it is trying to say to us.

An unnamed couple( referred to in the credits as Mother and Him) live in a large, isolated house somewhere in the country. Mother is a domestic goddess who is refurbishing the home, as we learn there was once a fire many years before that ruined the place. She is supportive of her much older husband, a poet with a severe case of writer’s block, but a lot of the time the love seems one-sided. She seems to always praise him and be there, while he isn’t the most forthcoming in approval or thanks to his wife. Their relatively tranquil existence is disturbed by a late-night knock at the door. There is an ageing doctor who says he has mistaken their house for a bed and breakfast. Mother is against letting him stay as he is a stranger, but Him is adamant that they cater to the man. The next day his wife appears and almost immediately begins to stir trouble for Mother. However, Him seems to revel in the company of these intruders, much to the annoyance and pain suffered by Mother. Gradually, everything begins spinning out of control for Mother as yet more people descend on the house and all manner of shocking events take hold, completed by Him basking in a new batch of inspiration.

Darren Aronofsky is the man behind the camera and script. He’s always been a director who knows how to shock and disturb cinema goers with his content, from Requiem for a Dream to Black Swan. I will say that Aronofsky builds up tension rather nicely with Mother! before unleashing an abundance of sheer craziness that will have you considering what you just saw. Credit where it’s due, Aronofsky crafts something extremely polarizing and material that is bound to get people talking. But there are certain areas that don’t quite add up and make the film feel bloated as a result. Aronofsky is clearly trying to say a lot of things, but at its heart, Mother! gets extremely esoteric. That’s not to say that any thematic material is gone( there is clear biblical parallels in the story and notions on inspiration), but it feels like an overload and that he is biting off more than he can chew in a good few ways. Plus, you can’t help but feel that Aronofsky is trying to be too clever and too self-indulgent with this movie. Mother! is a film that is hard to forget for sure, especially in the latter half. With the house being bombarded by intruders, everything including the kitchen sink is thrown at the viewer as all manner of hellish act is realised and put on us. Adding to this is the burnt gold of the cinematography and frequent closeness of the camera to Lawrence, exuding a claustrophobic air to everything. There is a distinct lack of a musical score here; Mother! utilises sound effects and unusual noises to bring out the eeriness of the piece in a rather successful manner.

One part of Mother! that cannot be faulted is the acting from the relatively small cast. Jennifer Lawrence ideally plays the lead, whose existence and sanity come under severe threat as the movie progresses. Starting out quiet, subtle and demure, before her mind unravels and she goes into alarming intensity and harrowing confusion, Lawrence gives the part her all and succeeds greatly with what she brings to the screen. On screen in almost every frame, Jennifer Lawrence sells the intense nature of Mother! brilliantly. Javier Bardem at his most lupine is effectively creepy and selfish as the husband whose inspiration seems to arise from the chaos surrounding him and his young wife. Michelle Pfeiffer is a wicked delight in a keen supporting part. Playing the intrusive, forthright and ever so feline woman who begins making her presence felt in Mother’s life, she’s devilishly toxic and strangely seductive to watch. Her and Ed Harris( whose enigmatic and equally as good) don’t have a lot of time on screen, but boy do they make the most of what they have! The same can be said of the Gleeson brothers who star as brawling siblings whose violence leads us into the second act of the movie. And appearing in a startling but entertaining cameo is Kristen Wiig.

Mother! as a movie is an extremely shocking experience, that is both hard to tear yourself away from and equally as repellent. I seem to fall into the middle ground of the consensus on this movie. While I will say that the direction is stylish and provocative and the acting is of a high standard, I must also bring forward that it’s a movie that often has too much going on, leading it to be hollow in the grand scheme of things. A movie that splits opinion is the best way to describe what Mother! is.

What Is Your Favourite Ed Harris Performance?

Tags

Ed Harris, Favourite Performance

Ed Harris; that charismatic and ever so versatile character actor who has a knack for popping up in so many movies. I can honestly say I can’t think of a bad performance from him, that’s how reliable he is. I admire the guy a hell of a lot for his talent and ability. So which of his many performances really stands out to you?

Eye for an Eye

Tags

1990's, Drama, Ed Harris, Eye for an Eye, Joe Mantegna, John Schlesinger, Kiefer Sutherland, Sally Field, Thriller

Film Title

Eye for an Eye

Director

John Schlesinger

Starring

• Sally Field as Karen McCann
• Kiefer Sutherland as Robert Doob
• Ed Harris as Mack McCann
• Joe Mantegna as Detective Joe Denillo

A dramatic thriller, Eye for an Eye starts strong yet quickly goes off course and becomes sub-par. Considering it had potentially thought-provoking material dealing with failed justice and what could happen if we were to contemplate revenge, Eye for an Eye unfortunately lays on the ridiculousness that ultimately undoes it.

Karen McCann has a great husband in Mack, a good job and two daughters in Julie(from her previous marriage) and Megan. Yet her world is turned upside down by savage events that unfold on her youngest daughter’s birthday. Stuck in a horrendous traffic jam, she calls Julie to tell her that she’s going to be late. While on the phone, Julie answers the door to someone who begins attacking the girl, leading to rape and finally her death. Horrified, Karen here’s everything on the phone and is frozen in terror. She then tries to find help, eventually contacting the police. Completely inconsolable when she’s informed of her daughter’s graphic murder, Karen refuses to move on with her life despite the best efforts of her supportive husband to guide her through the unimaginable grief. During this time, one Robert Doob is arrested for the murder of Julie, thanks to the work of Detective Joe Denillo, who is confident that they have a case. Karen thinks this will bring closure as the disgusting Doob will pay for what he did, but she is wrong as it doesn’t turn out that way. Due to a technicality with one piece of evidence, the snarling Doob who it is obvious is the culprit gets off and is now free. This completely shocks Karen and Mack, but most of all Karen who begins to dangerously obsess about Doob. She starts to follow the psychopathic man, detailing his movements and day-to-day activities. Mack, who wants to grieve in his own way and slowly move on, begins to suspect his wife is slipping into obsession, but his actions are futile as his wife won’t listen to him. Meanwhile at the same time, Karen discovers that within the counsel group that she has been attending, there are a few who failed by justice engineer vigilante killings and training. Devastated beyond belief by the cruel murder of her daughter and the inability for anyone to do anything, Karen quietly joins this covert group and begins planning her next move. Yet Doob is still hanging around and is likely to strike again, which firmly makes up Karen’s mind of what she’ll do next. Slowly her rage and disillusion with the legal system completely spill over and she begins to plan killing Doob for all the pain he has caused her. The main question is can Karen really go through with killing him knowing that the consequences could be dire for her if she does?

John Schlesinger may not be at his very best here, but his expertise are competent enough despite how riddled the film is with flaws. Some good tension is generated from his direction, yet even that isn’t enough to make Eye for an Eye a credible movie. Instead of taking a route that could have probed deep questions, Eye for an Eye settles for full on revenge mode as it carries on, without so much as a question of actions or implications. The film may have been a lot better if the issues of vigilantism and the frailty of justice through people’s eyes were presented with significantly more clarity and moral standpoint. Which brings me on to the problematic nature of what Eye for an Eye is trying to be, or in this case doesn’t know what it wants to be. If it was attempting to be a complex thriller posing controversial questions, it doesn’t succeed because a lot of the decisions that the script has the characters make are without thought of repercussion. And when it comes to the scenes of violence and rape there are times when it borders on gratuitous and exploitative. Eye for an Eye just never digs deep enough to bring out the themes it could have explored much better. A rather uninspired score does little to bolster any of the film.

One part of Eye for an Eye that can’t be criticized is the acting, which is one of the few things that keeps you watching despite the problematic source material. In the main role of the vengeful Karen, Sally Field is ideally cast. Always a strong performer in my eyes, Field imbues the film with a lot more emotion than the by the numbers script had and is powerful throughout. Filled with inconsolable rage and deep sadness that won’t be contained, Sally Field does a stellar job in this film that lifts it to watchable level. She deserved a better film to showcase her skills but her performance here is outstanding and emotionally convincing. Kiefer Sutherland is excellent as the utterly repellent murderer/rapist and its a testament to his talents as an actor that the audience feels complete and utter revulsion for him. Providing solid support is the ever dependable Ed Harris whose stoic emotions and firm dedication to his wife are put under threat due to her need for justice. Given little to do but still pretty good is Joe Mantegna as the detective growing concerned about Karen’s actions.

Despite the great cast it boasts, Eye for an Eye is simply a waste of a film that had possibly provocative and serious topics to present maturely and with balance. But instead of that, it can’t provide either dramatic impact or topical discussion on the subject of taking the law into one’s own hands.

Needful Things

Tags

1990's, Amanda Plummer, Bonnie Bedelia, Ed Harris, Fraser C. Heston, Horror, J. T. Walsh, Max Von Sydow, Needful Things, Shane Meier, Stephen King

Film Title

Needful Things

Director

Fraser C. Heston

Starring

• Max Von Sydow as Leland Gaunt
• Ed Harris as Sheriff Alan Pangborn
• Bonnie Bedelia as Polly Chalmers
• J. T. Walsh as Danforth Keeton
• Amanda Plummer as Nettie Cobb
• Shane Meier as Brian Rusk

The dark forces of the Devil comes to a small town with malice in mind in this sadly sub par adaptation of the Stephen King book. It has a lot of promise and at least the actors keep you watching, but falters deeply because of how uneven it is , a long time and how it can’t decide on what kind of movie it wants to be.

The quiet and sleepy town of Castle Rock is changed when one day a mysterious man arrives. The man in question is Leland Gaunt; a sardonic and seemingly benevolent older man who sets about opening a shop. This shop, given the name Needful Things, is a cornucopia of objects that hold deeper  promise with the residents than they realise. As people flock to the shop, the objects seem to be just unusually perfect for each and every person as if expertly picked out for their personal longings. But Gaunt is not interested in making a profit of his stock as he charges ridiculously low prices for his produce. Instead, the crafty man has his customers play tricks on others as a way to pay him back. At first, the playful pranks are somewhat amusing but as time goes on they morph into much darker deeds. This arouses the suspicions of the decent Sheriff Alan Pangborn, who seems to be the only person able to resist the allure of the shop that promises wonders to every resident of Castle Rock. Bewildered by the events surrounding him, he digs into the past of Gaunt and discovers that he may not be human at all. As the town is torn apart by violence, murder and unrest, it is up to Alan to bring down Gaunt, who is enjoying manipulating the ordinary people of the town into shocking acts of horror and carnage, all for the desired trinkets he entices them with.

Needful Things is one of those movies that has some good ideas but can’t quite put them across successfully on the screen. The main fault lies with the direction from Fraser C. Heston. He can’t quite make his mind up on whether he wants Needful Things to be a grisly supernatural horror or a fantasy stuffed with black comedy. There are only a few moments that really work in the film, but the rest is not thrilling, scary or darkly amusing in the slightest. The story itself could have been extremely intriguing with the subject of what people are willing to do when tempted by their heart’s desire, but a weakly written script stops any chance of that. Which brings me on to the next flaw which is the pace and running time. Now I don’t mind long movies as long as they keep me entertained, sadly Needful Things drags like a snail and becomes something of a chore to view. Everything about this movie just seems to take way too long to get going and when it does, it is too late to make up for the flaws in pacing. The score which does bring something of a fiendish quality to the dark events provides at least some sense of tone, yet it feels overly bombastic and doesn’t gel with the story.

The one thing that shines in Needful Things and stops you from switching the movie off is the cast assembled. As the devil in disguise whose benevolent demeanor and welcoming air entices curious customers to their doom, Max Von Sydow is obviously having a good time. And it must be said he contributes a charming but very sinister presence to the film that brings at least some effectiveness to proceedings. Ed Harris is very good( then again, when isn’t Ed Harris good?) as the honest but firm Sheriff who is the first to see the wicked game being played by Gaunt. It is then up to him to prevent further destruction as he goes up against the devil incarnate. Bonnie Bedelia does just fine in an underwritten role as the love interest, bringing just the right amount of sweetness to the part to cover up how undeveloped the character is. Then there is J. T. Walsh, quite effective as the slime ball boat salesman who gets his comeuppance by becoming the loyal servant of Gaunt. Standing out in the cast is Amanda Plummer, all nervous tics and wide eyes as the kooky but vulnerable baker Nettie, whose good nature is turned to murderous rage. She isn’t in the film for long, but she makes an impact on it and lends some creepiness to this film that is devoid of it. As the 11-year-old kid who is the first to encounter the evil of Gaunt, Shane Meier does a credible job at showing how his innocence is ultimately manipulated into something darker.

Neither particularly scary or engaging, it’s only a commendable cast that keeps Needful Things afloat. And even with the talented cast, it isn’t enough to make a great movie and sadly it becomes one of the not so good King adaptations.

Absolute Power

Tags

1990's, Absolute Power, Clint Eastwood, Dennis Haysbert, E. G. Marshall, Ed Harris, Gene Hackman, Judy Davis, Laura Linney, Scott Glenn, Thriller

Film Title

Absolute Power

Director

Clint Eastwood

Starring

• Clint Eastwood as Luther Whitney
• Gene Hackman as President Alan Richmond
• Ed Harris as Detective Seth Frank
• Laura Linney as Kate Whitney
• Scott Glenn as Bill Burton
• Dennis Haysbert as Tim Collin
• Judy Davis as Gloria Russell
• E. G. Marshall as Walter Sullivan

It may not be a movie that breaks any new ground, but Clint Eastwood’s Absolute Power is a taut and tense thriller that is severely underrated and should be better known due to some fine acting and confident direction.

Luther Whitney is a smart and methodical cat burglar, who is also ageing. Deciding to do one last job, he infiltrates the wealthy home of prominent philanthropist Walter Sullivan. Yet this job proves to be much deadlier and dangerous than his previous work because of what he witnesses. The young wife of the Sullivan named Christy is drunk and cavorting with none other than the President Alan Richmond, yet this liaison becomes very dark as he becomes abusive and she attempts to flee. To Luther’s horror, Secret Service agents come in and shoot her, killing her. The President’s loyal fixer Gloria Russell then orchestrates a cover up. Luther manages to escape with a key piece of evidence. Meanwhile, determined Detective Seth Frank investigates the murder and while suspicious of Luther, doesn’t think he committed murder. Luther is all for skipping the country in fear that he will be discovered and possibly accused of the crime. But just as he is about to leave, he sees a new report detailing a press conference from Richmond in which he condemns violence in society and uses Sullivan as a way of sympathy. Enraged by this, Luther decides to stay and fight for justice. He enlists the help of his estranged prosecutor daughter Kate, who holds deep resentment for him but helps anyway as she is curious to see whether her father really cares for her. With both the police and the president’s men on his detail, Luther must stay sharp if he is to expose the corruption at the top of the political ladder while staying alive.

As a director, Clint Eastwood showcases confident and engaging direction throughout Absolute Power. I admired the way he knew when to slow events down to focus on the personal drama of Luther’s complicated relationship with his daughter, and then ratchet them up a notch to generate suspense and intrigue. The murder sequence and Luther’s escape are fine examples of this skill, as it builds up slowly but surely and then becomes heart-stopping and thrilling. Absolute Power is very well-paced and doesn’t feel the need to rush events, rather it lets them unravel while still being riveting as we watch Luther outwit assailants in his hope to bring the President down. I’ve always found political scandals and cover ups fascinating and Absolute Power definitely reinforces that. The sharp script addresses themes of morality and corruption, while giving the characters some excellent dialogue to read. There are occasional implausibilities along the way, yet they can be forgiven because of how well-mounted and directed the movie is. Praise should go to the editing which compliments the dangerous journey and subsequent attempts to avoid being killed. An excellent score is further helpful in establishing the cat and mouse game at play.

Leading the well-established and talented cast is Clint Eastwood himself. He does a marvellous job portraying Luther, who is smart, efficient and not afraid to admit that he’s getting to old for the thieving business. Instead of the character just being a grumpy old man, Eastwood displays lightness of foot, wry humour yet also a code of moral conduct that means he can’t walk away from the crime he has seen. There may be no honor among thieves, but Eastwood’s character has a heart. As the corrupt president, Gene Hackman is an excellent choice as he conveys a slimy quality and the ability to use those around him for his own dirty work. The ever-reliable Ed Harris is on hand playing the determined but good-hearted detective, whose unconvinced that Luther is guilty of murder but curious to know what knowledge he has. Harris shares a particularly entertaining scene with Eastwood as he tries to get information out of him, but Eastwood bluffs and only offers hints with a dash of wry humour. Laura Linney fills her role of Luther’s estranged daughter with a toughness that belies inner pain at all the times her father wasn’t there for her as a child. Scott Glenn and Dennis Haysbert are fine as the Secret Service agents with different ideas about how to handle the scandal, Glenn being the one who feels remorse, while Haysbert is the ice-cold killer who asks no questions. Judy Davis is impeccable as the fixer who while good at her job fears that one day her worrying attitude will trip her up. And rounding out the cast in what would be his final screen appearance is E. G. Marshall, who is very as the philanthropist whose wife was murdered.

Tightly constructed and splendidly performed, Absolute Power is a thriller that is crafted with precision from Clint Eastwood.