'mother!' Review: A Stunning and Provocative Gut Punch
By now, I'm sure you've heard the polarizing reactions to Darren Aronofsky's horror-freakout film, "mother!," and you may have already drawn your own conclusion about whether or not you'll be seeing the Jennifer Lawrence-starring film in theaters – if at all.
It has been the cause of audience confusion, offense, and walkouts, and even earned a rare "F" Cinemascore (a rating of audience's reactions leaving the movie). So clearly, people are divided on the film.
However, one can argue that the sign of any good film is the impression it leaves on its audience, whether it be one of love or even hate. To this standard, Aronofsky has succeeded in not only making a successful film, but having written and directed one of the most polarizing and divisive movies of recent times, proving the power that cinema has to elicit debate, physical reactions, and psychological head trips that last far beyond the film's 2-hour run time.
Aronofsky ("The Wrestler," "Black Swan") is a modern father of unconventional storytelling and "mother!" is no exception. The story centers on a young woman (named lowercase "mother") (Jennifer Lawrence) and her older husband (named uppercase), Him (Javier Bardem), an acclaimed poet. The couple lives alone, isolated from the rest of society in his childhood home which she willingly renovates while he works on his writing. Their quaint life of solitude comes to an abrupt halt when a man (Ed Harris) shows up at the couple's door with more baggage than just his belongings.
It is a punch to the gut; it will push you out of your comfort zone and it will make you question humanity and the true intentions of your neighbors and friends altogether.
The couple's life turns upside down as their sacred space gets encroached upon by the man, and then his wife (Michelle Pfeiffer) – and then hoards of unwanted guests. The guests idolize Him: as fans of his writing, they worship his every word, even if it comes at mother's expense. This becomes too much for her, whose generosity and kind spirit is abused, disrespected, and all around disregarded, at times even subconsciously by her own husband. As she nears her breaking point, mayhem becomes imminent, and what ensues is the most shocking and head-spinning of circumstances seen onscreen this year.
Allegorical themes and symbolism run rampant throughout the film, yet are best left to be discovered organically. That is the gift of "mother!": it goes far beyond just the surface. Javier Bardem gives a performance that is captivatingly creepy with mystery lurking just beyond his signature stare. Jennifer Lawrence is a subtle thunderstorm, starting off restrained and building towards a crescendo that only she could create. Her performance is nothing shy of phenomenal.
To say "mother!" has been grossly misunderstood by the masses is an understatement. It should be applauded for its unwavering commitment to breaking the stereotypical and formulaic Hollywood tropes. It is a punch to the gut; it will push you out of your comfort zone and it will make you question humanity and the true intentions of your neighbors and friends altogether. "mother!" will unnerve you and shock you, and the best part is, it will reaffirm your faith in the magic and power that movies still hold in serving as a reflection of the equally shocking times in which we live in.
"mother!" is rated R for strong disturbing violent content, some sexuality, nudity, and language. 121 minutes. Now playing in theaters.
6 Intimate Stories Emma Stone and Steve Carell Reveal Behind Their New Sports Biopic
This is not the first time Emma Stone and Steve Carell have been at odds onscreen.
In the 2011 romantic comedy "Crazy Stupid Love," Stone played Hannah, the daughter of Cal (Carell) who gets caught dating Cal's friend and serial dater Jacob (Ryan Gosling). When Cal finds out about their love affair, he forbids Hannah from ever seeing Jacob again, and teenage drama ensues. In "Battle of the Sexes," the two are on the same playing field (pun intended) as they take on the roles of tennis legends Billie Jean King and Bobby Riggs. In our interview, we chat with Stone and Carell at the W Hotel in Westwood about getting into character, both psychically and mentally.
Steve Carell and Emma Stone in the film BATTLE OF THE SEXES. Photo by Melinda Sue Gordon. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
Playing Billie Jean King is the first time Emma Stone played a real person
I had never played a real person before, much less someone like Billie Jean. And so I wasn’t sure what my process was going to be. When I met her, she was so wonderful, and Ilana Kloss, her partner, they were so welcoming to me. [Billie Jean] made it very clear early on that she would be open to whatever process we needed to go through in order to bring this whole thing to fruition. And so we threw some balls around on a tennis court and then I quickly realized that I wanted to watch a lot of footage from her in the time period and read a lot about her. She is so fully formed now and is able to talk about all of this with closure and hindsight and she could just see it more clearly now than she might have been able to at age 29. So I ended up doing a lot of research on her just in that very specific time frame.
Carell on finding the tortured man in athlete Bobby Riggs
There’s this public persona [of Bobby] and then there’s this guy that no one really knew. When I started doing research, I watched a great “60 Minutes” interview with him. The conversation [eventually] came around to his wife, talking about how they’ve recently separated, etc. Even within all of that bravado and crazy, over the top nature of his, you could see this pain he was suffering with. That was the root of what I was going for, the complexity lying underneath his public persona.
Steve Carell and Emma Stone in the film BATTLE OF THE SEXES. Photo by Melinda Sue Gordon. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
Emma is not a tennis player
Yeah, I’ve never played tennis, I’m not particularly good at tennis. I did a lot of lessons but I also had an incredible professional double named Kaitlyn Christian who was phenomenal and an amazing coach.[I had] the great Vince Spadea (film's tennis choreographer and doubled for actor Steve Carell) bulking me up, and Billie Jean throwing balls at me. I was surrounded by a team of massive support when it came to that element, because so much of the story, obviously, is about her personal journey and her personal struggle. But if this had been the Billie Jean "tennis movie," I would have never have gotten the part.
Carell's makeover affected his love life
I read one review of this film that talked about how bad my wig was. It’s my real hair! I grew out my hair and grew these massive chops and used the same product Bobby used- Clairol #87. I think he was trying to get Clairol to sponsor him. So I used the same color, which was an orange/brown and grew these sideburns, which he didn’t dye, so those were grey. Me, my wife, and my kids went on a vacation before we shot and they didn’t want to be seen with me! And I have to say, it did sort of affect my love life with my wife.
Emma Stone in the film BATTLE OF THE SEXES. Photo by Melinda Sue Gordon. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
Emma on finding the emotion after Billie Jean's victory
I was thinking about that moment in all of the other scenes in the film. She has such strength and she holds it together and it’s all just right under the surface for most of the film. That sort of breaking point was just- you have to earn that moment of finally seeing everything that’s been happening underneath the surface this whole time. Because she was on four hours of sleep every night, all of this was going on with Marilyn Barnett (Andrea Riseborough), you can’t just sit in the overwhelm of that. So in that moment after winning, it was pivotal for me to know that this is where we were building to.
Carell's Little Bo Peep scene was pretty shitty
It was one of those things that no one took into consideration before we shot the scene, that sheep shit. Between takes, there were two people, who didn't know this was going to be their job, shoveling poop.
"Battle of the Sexes" is in select theaters today, everywhere Friday, Septemeber 29th
'Battle of the Sexes' Directing Duo Talk Trump's Influence, Carell's Sideburns
If directors Valerie Faris and Jonathan Dayton played doubles in a tennis match, they would win.
They exhibit the type of teamwork that is extremely admirable in the film industry– their open communication and creativity lead them to success in the 2012 drama "Ruby Sparks" and most notably, 2006's Sundance darling "Little Miss Sunshine." Now, the indie filmmakers and real-life couple take on the compelling story of Billie Jean King and her infamous 1973 tennis match against Bobby Riggs in the comedic biography "Battle of the Sexes."
Familiar faces from "Little Miss Sunshine" to "Battle of the Sexes"
Jonathan Dayton: Since "Little Miss Sunshine" we've been looking for the right thing to do with Steve. It was so much fun to work together with him again and to be able to have a character that could highlight all that Steve brings to a part. We all knew the funny character Bobby was publicly but what was exciting for us was the private side of Bobby and that's where Steve showed his range.
Steve Carell's wife hated his makeover
Valerie Faris: His wife is always complaining about his facial hair in our movies! On "Little Miss Sunshine" she didn't like the beard. He shaved it immediately on the last day. I think she's gonna grow to like the sideburns.
Putting women first, even in the end credits
Jonathan Dayton: We've done this for so long and it's always been alphabetically [Directed by Jonathan Dayton and Valerie Faris]. But it just felt like the right time to remind everyone that it's a team...
Valerie Faris: I'm not just the "and."
Directors Jonathan Dayton and Valerie Faris with Emma Stone on the set of "Battle of the Sexes."
The Presidential election changed the tone of the film
Valerie Faris: We had previewed a rough cut of the film before the election and it did ok. We were pretty happy with the results but were still working on the film. After the election, about a month later, we previewed it again and the score jumped by 15 points. I think the movie got better [from us working on it] but I also think you could feel the [energy] in the room after the election. It changed how the movie felt.
Jonathan Dayton: One thing that we wanted from the start, and I think it's more important now more than ever, is that we made an effort not to really have clear "bad guys." Even Bill [Jack Kramer] with his rhetoric is a dimensional person who deserves respect and that's one thing I've learned through this process. You need to respect and engage the people you're facing. Billie Jean never called [Bobby Riggs] a name. She wanted to engage with him and talk to him. She beat Bobby because she respected him. Billie Jean showed you might not win the early battles but if you stay at it, you can prevail.
"Battle of the Sexes" needs to be seen in theaters
Jonathan Dayton: This story has been told in books and articles and documentaries. But I hope people take away that a feature film seen in a theater is a unique experience. You're there for two hours and can immerse yourself in something. We can use beautiful music and great performances that allows you to learn something about history that is unique to what movies can do. And then you can go out and talk about it, and that's really what we hope will happen with "Battle of the Sexes."
Valerie Faris: That's what I love so much about Billie Jean, she's such a generous person and she's always giving. She doesn't really like the spotlight. I hope people will take an interest in Billie Jean and Bobby from this movie, they're all fascinating characters worthy of biopics of their own.
'Manolo: The Boy Who Made Shoes for Lizards' Review: Just in Time For Fashion Week
As we find ourselves at the end of New York Fashion Week (and eagerly anticipating its resumption in London tomorrow), there is no better time to check out the documentary about the fairy godfather of the fashion industry, Manolo: The Boy Who Made Shoes for Lizards.
No runway outfit is complete without a pair of Manolo Blahnik's parading down the catwalk and this biopic, directed by fashion journalist Michael Roberts, delves deep into the history of the man who is considered an artistic genius.
Before Manolo Blahnik was designing shoes for the fashion elite, he got his start in the backyard of his parent's house on a remote Spanish Canary island creating shoes for lizards. His material of choice? The foil wrappers of Cadbury chocolates. Even as a child, his passion for design was unwavering and uniquely his own.
Hard work and his outgoing personality made Manolo's rise to fame a relatively simple one. He showed his first collection in 1971, opened his first shop in London in 1973, and quickly solidified himself as the world’s most famous luxury shoemaker.
His influence jumped from the runway to the small screen, most notably as the one item in Carrie Bradshaw's wardrobe that she was devastated to give up...even at gunpoint in this infamous "Sex and the City" scene (showing that women were willing to hand over their purses, money, what have you, but don't touch the Manolos!). Manolo's impact on the film industry is also explored in the film, an example being Sofia Coppola's "Marie Antoinette." He modernized the typical shoe of the French Revolution and gave Kirsten Dunst a feminine yet historically accurate pink ruffled kitten heel (which costume designer Milena Canonero won the Oscar for in 2007 for Best Achievement in Costume Design).
...Women were willing to hand over their purses, money, what have you, but don't touch the Manolos!
The documentary Manolo reflects the man himself– upbeat, fun, and not taking itself too seriously. Fashion enthusiasts and historians alike will find appeal in this charming portrait of a man whose work ethic is admirable and reputation is completely deserved. It is not without glitches from a technical aspect, unfortunately, as it is difficult to hear the interviews over the music at certain points. I found myself having to go back and rewatch a couple of times (a luxury audiences in theaters won't have).
Manolo doesn't reinvent the wheel in its delivery, it stands as a typical fashion documentary. Interviews with the usual suspects– Anna Wintour, André Leon Talley, Rihanna, and John Galliano– paint a colorful portrait. What makes this film stand apart from the rest, however, is the man himself. Watching Manolo sketch on camera, wearing pristine white gloves and bubbling with energy, seems like a privilege to observe. For those who like to indulge in the escapism and fantasy of fashion, Manolo is for you.
'Manolo: The Boy Who Made Shoes for Lizards' is not rated. 89 minutes. Opening this Friday at The Nuart.
This James Bond Museum is Not For Your Eyes Only [WATCH]
Cinemacy took a little trip to London last month and stumbled upon “Bond in Motion”– the most successful exhibition in the history of the London Film Museum.
The exhibit features over 150 original artifacts from all 24 Bond films, including iconic cars and various miniatures, concept art, costumes, storyboards and more. The entire museum is dedicated to the franchise, with no end date currently scheduled.
The first James Bond film premiered in 1962 with Ian Fleming starring as 007 in "Dr. No." Since then, there have been 6 James Bond actors (R.I.P. Roger Moore) and 23 additional films, making this franchise one of the longest running in cinema history.
"Bond in Motion" is a treasure trove for 007 fans and film buffs alike. Surrounded by never-before-seen concept art, Bond's unique and infamous gadgets, and the most memorable cars from the latest film "Spectre" (starring Daniel Craig), this exhibition is certainly not to be missed. While there is no Los Angeles date set yet, we're hoping it will find its way across the pond soon. Until then (or unless you find yourself in London's Covent Garden), get your inside peek at the treasures that await in the London Film Museum, which are certainly not "for your eyes only."
Korean-American Drama 'Gook' Shows The L Riots Were More Than Just Black and White
As I was driving to my office in Koreatown earlier this week, I saw a man riding a bicycle.
He was wearing a white t-shirt with the words "End Racism" in red. It was simple, but the message held an even stronger meaning after seeing the atrocity that happened in Charlottesville, VA over the weekend. It’s no secret that race relations and culture clashes have been a dark stain on America's history, and it is even more unsettling that the continuation of those racist practices are still prevalent today.
Writer/Director/Actor Justin Chon was just a boy during the L.A. Riots of 1992. He has since taken to filmmaking to express his experience as a Korean-American living through one of the city’s most infamously tumultuous times which, until now, has generally been considered a black/white race issue. Chon’s latest film, Gook, gives audiences a fresh perspective of how the Rodney King riots also affected the Asian population living in Los Angeles at that time. From destroyed businesses to strained cross-cultural relationships, this Sundance award-winning drama uses black and white cinematography to tell a truly unique story that celebrates the artistry in diverse voices.
The timing of 'Gook' hitting theaters this Friday seems very relevant, and I urge everyone to see it.
Gook tells the story of two Korean American brothers, Eli (Justin Chon) and Daniel (David So), who struggle to make ends meet by working in their late father’s shoe store, located in the South Central neighborhood of Paramount (a stone’s throw from Compton). The brothers’ tough exterior of gold chains and foul language may seem intimidating to outsiders, but that doesn’t deter 11-year-old Kamilla (Simone Baker) from hanging around them any chance she gets. Kamilla is a street smart, orphaned black girl whose dysfunctional upbringing has her searching for the security of a family in unconventional ways. As racial tension runs at an all time high, the special bond between Kamilla, Eli and Daniel is put to the test in a major and life altering way.
Clearly, there is something special in Gook. The Sundance Audience Award winner has resonated with all who have seen it– whether it be for its bold cinematography or emotionally-charged (although at times, melodramatic) storyline, we are reminded about the importance of community during times of oppression. The L.A. riots happened 25 years ago, and judging by the state of our current political climate, we still have a long way to go until we reach liberty and justice for all. The timing of Gook hitting theaters this Friday seems very relevant, and I urge everyone to see it.
94 minutes. 'Gook' is not rated. Opening the Friday at Arclight Hollywood and the Regal LA Live Stadium Theater, nationally on August 25.
Billy Magnussen and Pom Klementieff of 'Ingrid Goes West' Talk Indie Film and Instagram
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"I didn't use the pool, but I did take advantage of a hotel cocktail," Billy Magnussen says after I ask if he and his co-star Pom Klementieff were able to use the giant inflatable flamingo in the pool at the Fairmont Miramar Hotel in Santa Monica.
It's the perfect setting for my interview with the stars of "Ingrid Goes West"– not only is it as West as you can get without dipping your toes in the Pacific Ocean, it totally screams Los Angeles. In the Matt Spicer-directed dark comedy, L.A. is the backdrop where the loner Ingrid Thorburn (Aubrey Plaza) stalks and then befriends Instagram influencer Taylor Sloane (Elizabeth Olsen) in a fake it till you make it situation. Only Ingrid isn't faking it consciously, it's her mental illness that tricks her into thinking that social media "relationships" are real relationships. In a time when online personas are curated to the point of perfection and friendships are based on likes and comments, "Ingrid Goes West" could not be a more relevant and entertaining film for this generation. In our exclusive interview with Magnussen (Nicky Sloane) and Klementieff (Harley Chung), we talk about comparing acting to carpentry, Pop Sockets, and the difference between the various heart emojis.
Did your first job influence your passion for acting?
Pom Klementieff: I sold clothes. I hated it. I knew I didn't want to do that for the rest of my life so I think that's what brought me to acting!
I sold clothes too, so I totally understand the struggle.
Pom Klementieff: Oh my God, yeah. It's terrible, haha.
Billy Magnussen: My father is a carpenter so I grew up in a carpentry shop. We worked in these freaking-million dollar houses down in Georgia, building cabinets for these people. But meeting them... they were all characters. These people didn't exist in my everyday life.
What I also learned through carpentry is craft. You have to take the time to sand [a piece] down, to build it, to put it together. And then you get to see a product. I feel that way with acting completely. You have the months of [pre-production], shooting, editing, and then you come out and see your product.
I actually worked on [director] Matt Spicer's Kickstarter video a few years ago, he's a super cool guy. What was meeting him for the first time like for you?
Pom Klementieff: I met Matt on Skype actually. I was shooting "Guardians of the Galaxy Vol. 2" in Atlanta, and I think I bought a webcam especially for that.
Billy Magnussen: For that!?
Pom Klementieff: Yeah because my webcam didn't work on my MacBook!
"What I also learned through carpentry is craft." -Billy Magnussen
Good investment.
Billy Magnussen: Good investment, yeah! I met Matt at some restaurant off Western in Los Angeles. We had oysters. It was great.
You've both done big blockbuster movies [Pom, "Guardians of the Galaxy Vol. 2," Billy, "Into the Woods"]. Can you describe the difference between working on those sets compared to an indie film set?
Pom Klementieff: I remember having to drive myself to set [on "Ingrid Goes West"], that's kind of funny, haha. On a big production, they'll have a driver waiting for you. But I don't really care about that stuff. I love doing both! It's all about the script and the people that you work with.
Billy Magnussen: From an acting standpoint, you shouldn't tackle a project differently because of the budget. I do have to say, with a lower budget film, I feel more involved in the creation of everything. With big budgets, it's more, "We'll call you when we're ready for you."
"I do have to say, with a lower budget film, I feel more involved in the creation of everything." -Billy Magnussen
Both of your characters are so outrageous, was there any part of that character you really liked to play? Like Nicky's sweet dance moves, do you do that often in real life?
Billy Magnussen: Oh yeah I love dancing! Thanks for the "sweet" dance moves! The goal of Nicky in the film was this– Ingrid is creepy, awkward and how can you relate to this person but by having someone else who's worse. So you actually want Ingrid to win.
Pom Klementieff: Yeah, like that moment when you meet Ingrid and you take her picture. I can't remember, was that improvised?
Billy Magnussen: We did a whole bunch of takes, just messing around.
Pom Klementieff: We did a lot of improv, there was a lot I did with Lizzy [Elizabeth Olsen] that isn't in the movie like taking selfies and stuff. You know when you're taking a selfie, and you're looking only at yourself and your friend is only looking at herself, it's pathetic! Haha
So I bought this thing recently, it's called a Pop Socket. I went on a trip recently and wanted it to take better videos and pictures, and self-admittedly, I'm embarrassed to say... better selfies...
[Billy Magnussen takes my phone and starts playing with the Pop Socket]
Pom Klementieff: You know that Paris Hilton has an iPhone case that has a beautifying light?
Billy Magnussen: Social media!
"Ok, I'm boring, I think it's the two pink hearts [emoji]. Sending the single red heart is more of a commitment." -Pom Klementieff
Exactly! Haha. I talked to Matt and Aubrey [Plaza] at the LA Film Festival and asked them what their favorite emoji was. He said Prayer Hands. She said the Knife. Do you have a favorite?
Pom Klementieff: Let me check which one I use the most [scrolls through her phone]. Ok, I'm boring, I think it's the two pink hearts. Sending the single red heart is more of a commitment.
Billy Magnussen: I, ugh, I don't know...
Or do you not use emojis?
Billy Magnussen: I don't do emojis... I'm probably older than you so...
My mom uses emojis, and she's older than you, so...
Laughter
Billy Magnussen: Well she wins, haha.
Pom Klementieff: I just started emojis not too long ago. For a long time I was rejecting it, I thought it was too easy. I'd rather speak to someone.
Billy Magnussen: Too easy!? When someone sends them to me, I think "Why are you sending me poop?"
Laughter
Billy Magnussen: The most important thing with this film is to understand how people connect and communicate with each other and the problems that Instagram and in turn, society, has created has separated people. I hope "Ingrid Goes West" is a reflective mirror to really show the dangers of this fucking false world. I hope through this, people will put down their phones and really get to know someone rather than fakely follow someone. Ok, I'm going political– we elected a President who won off Twitter. That's fucked up.
"Ingrid Goes West" opens tomorrow at ArcLight Hollywood.
'Whose Streets?' Is A Powerful Call to Action
"For Michael Brown Jr."
On August 9th, 2014 – exactly 3 years ago today– an 18-year-old, unarmed black student named Mike Brown was shot and killed in Ferguson, Missouri. Just a day before, the northern suburb of St. Louis was virtually unknown to the rest of the world, but that would soon change in the most drastic of ways. Ferguson became the birthplace of the Black Lives Matter movement and garnered national attention, but the people's call to action has continued to be ignored. The documentary Whose Streets? is a look racial tension in Ferguson post-Mike Brown's death, and how residents refuse to back down until it's "liberty and justice for all."
Contributing to the emotional scope of the documentary, Whose Streets? relies heavily on user-submitted videos to capture the unfiltered chaos and confusion during those tumultuous days and nights. Not only does this force the audience into a reality check, but it also serves to empower the people with the cameras. Everyone is a filmmaker, documenting events from their unique perspectives. The social activism seen here is what they are hoping will change the world.
Last year, the documentary "Do Not Resist" highlighted the growing militarization of the police force, specifically in Ferguson, and the message is again echoed in Whose Streets?. Calling in the National Guard was a decision reached by the local (not federal, as then-President Obama makes clear) jurisdiction, and was meant to intimidate protesters into quietly packing up and going home. But the opposite happened, and instead, the violence, vandalism, and looting became worse, destroying an already broken city and pushing lawmakers, police, and residents even further from a civilized conversation and potential agreement.
Seeing a father hold up a sign reading, "Ferguson police just executed my unarmed son!!!" will never be an easy thing to digest. These films will continue to anger those who feel discriminated against and haunt those who sympathize with the victimized. Whether you are black, white, or anything in between, Whose Streets? is a captivating and culturally crucial watch.