Aronofsky has created a film that posits the female as The Other – the source of all inspiration and frustration.
In the end, mother! clings to convention in a story that’s couched in a guise of aesthetic edginess.
King builds a rich interior world for even the most peripheral characters, and creates perhaps his most fully realized, richly satisfying work ever.
Reading this novel always rekindles a connection with my own childhood naïveté (something I haven’t necessarily shaken).
In a low-down and perverse way, it’s still fun to watch.
When contrasted against last year’s similarly-themed (but far more original) Pet, Berlin Syndrome seems especially disappointing.
Distanced from Astron-6’s darkly funny aesthetic, it becomes just another genre flick defined by its borrowed parts.
Felt is a captivating journey that forces the viewer to consider the perspective of a challenging character.
In a way, the addicts of Toad Road are not unlike the religious types who seek redemption and release via unquestioning faith in an omniscient, all-powerful creator.
The Blackcoat’s Daughter completes an unholy trinity of horror classics that are as viscerally punishing as they are challenging in their boundary-pushing intelligence.