You don’t need a PhD to follow the story. You just have to pay attention.
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.
When contrasted against last year’s similarly-themed (but far more original) Pet, Berlin Syndrome seems especially disappointing.
Billed as a sci-fi/horror film, Life (2017, dir. Daniel Espinosa) is more accurately a semi-lame thriller based on the familiar sci-fi trope of contamination by an alien species.
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.
It’s a conundrum, but a consistently approachable one.
Perhaps it’s not fair to expect, but I wish this film had scared the crap out of me like its 1979 ancestor did. Still, it does accomplish what it set out to do — to explain the origins of the Xenomorph.
In a weird way, I wonder if Lowe was listening to Embryodead while conceiving the story of Prevenge.
When repetition is the name of the game – and your film isn’t Run Lola Run – it’s not an encouraging sign.