The film is a riot of religious symbolism, of-the-moment socio-political valences, and references that attempts to unite themes from nearly all of Darren Aronofsky’s work.
The Boston-born Gullette is currently based in Tangiers, his wife’s hometown, and he clearly has empathy for his adopted city.
Once the money shots of Aronofsky’s version recede, it becomes ever more clear that his intention is to tackle the capriciousness of Old Testament logic.
Six. That’s the number of times the DGA winner has failed to win the Oscar. Advantage: Tom Hooper. Two thousand and three.
For Annette Bening, it seemed as if the stars in the Oscar sky had finally aligned into a shape that wasn’t that of Hilary Swank’s face.
The first wave of guilds—directors, producers, and actors—all supplicated down on their knees for The King’s Speech.
Now, to be clear, Inception, which makes the juggled alternate realities of Back to the Future Part II seem complicated in comparison.
I was moved by Requiem for a Dream, but boy, has he ever made me regret that initial feeling of enthusiasm.
Part of the reason I’m drunk on Black Sawn while still struggling to identify its taste has something to do with the film’s hallucination-filled narrative.
Is Darren Aronofsky’s relative nebulousness a reflection of the quality of his films?
Some of the entries are set in stone from edition to edition, and that’s fine in most cases, but the entries that are being added on to can get somewhat broken-backed.
Annihilation and resurrection are the twin axes upon which The Wrestler turns.
The Fountain is an acquired taste I don’t really care to acquire. The soundtrack, though, is not.