Directors: Darren Aronofsky Archives

The Whale (2022)

December 6, 20222022, Authors: Walter Chaw, Directors: Darren Aronofsky, Drama, Theatrical

**/****
starring Brendan Fraser, Sadie Sink, Ty Simpkins, Samantha Morton
screenplay by Samuel D. Hunter, based on his play
directed by Darren Aronofsky

by Walter Chaw The Whale is the first Darren Aronofsky film that lands for me the way his work often lands for others. It feels like much ado about very little, and though there are obvious things to recommend it, its central message, however well-taken, seems poorly served by the substance and execution. Most of the blame goes to screenwriter Samuel D. Hunter, author of the same-named play on which the film is based, for writing a trio of women characters meant to represent the mother, whore, and virgin but who mostly represent a uniform wall of shrill, lacerating rage. The Whale feels like the product of inexperience: a song by The Smiths turned into a movie in all its grandiloquent, hyper-literate (to the point of self-parody) self-pity. It’s about the last five days in the life of online English comp teacher Charlie (Brendan Fraser), a morbidly obese, largely couch-bound shut-in suffering from congestive heart failure brought on by years of unchecked food addiction incited by the suicide of his partner. If that were all (and certainly that’s enough), we’d have ourselves a classic. But it’s not all. There’s an evangelical missionary named Thomas (Ty Simpkins) who comes to the door to sit with him as he’s popping off the first of what appears to be a series of heart attacks; Charlie’s estranged daughter, Ellie (Sadie Sink), who is quite possibly Satan himself because this film is at some level about how anyone can be redeemed and so provides a demonic straw girl to prove it; pissed-off caregiver Liz (Hong Chau), who–it’s weird to say this–has a bit too much backstory; and Charlie’s alcoholic ex-wife Mary (Samantha Morton), who wants to listen to Charlie’s breathing for some reason. The Whale is at once overwritten and underwritten, which is not uncommon. What sinks the ship, as it were, is that it’s never particularly well-written–something it just can’t surmount. I think the real movie is in the five days before the last five days, but what the fuck do I know?

Requiem for a Dream (2000) [Director’s Cut] – 4K Ultra HD + Blu-ray + Digital

November 26, 20202000s, 2020, 4K Ultra HD, Authors: Bryant Frazer, Blu-ray Disc, Directors: Darren Aronofsky, Drama, Esoterica

Note: all framegrabs were sourced from the 4K UHD disc

***/**** Image A Sound A Extras B
starring Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans
screenplay by Hubert Selby Jr. and Darren Aronofsky, based upon the book by Selby Jr.
directed by Darren Aronofsky

by Bryant Frazer Few films are anywhere near as well made–as fierce and committed–as Requiem for a Dream, which stands as a 20-year-old landmark in an especially fertile era of New York indie filmmaking and one of the most expertly executed feel-bad narratives in the history of popular culture. Darren Aronofsky is a hell of a director, but he’s always been a little, well, intense for my taste. He’s got vision and passion to spare, and he clearly inspires dedication and devotion from his actors, yet I always feel there’s something critical missing from the films themselves. If π is David Lynch without an angle on the truly bizarre and Black Swan is David Cronenberg without the painful psychological acuity, then Requiem for a Dream is John Waters without the sense of humour. I know Waters is friendly with Aronofsky, but imagining him watching this in a dark theatre and positively cackling at its most painfully outré gambits is what helps get me through its pitiless final act.

mother! (2017)

September 15, 2017****/****, 2017, Authors: Walter Chaw, Directors: Darren Aronofsky, Drama, Horror, Mystery, Theatrical, Thriller

****/****
starring Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer
written and directed by Darren Aronofsky

by Walter Chaw Darren Aronofsky's mother! seeks to explain the ways of God to Man in an allegory of the monstrousness of the creative impulse that plays at once as apologia and barbaric yawp-cum-mission statement; imagine if Aronofsky adapted Paradise Lost. It's The Giving Tree and Harlan Ellison's "Try a Dull Knife" as told by Buñuel and Ken Russell: a marriage of essential truth with exceptional excess–a work of genuine arrogance and pretension. The picture aspires to answer large questions, to lay bare the heart of the artist, and it has as few apologies to offer as it does fucks to give. It's unpleasant to the point of unwatchability–an instant entry into the films maudit hall of fame, predicting a popular failure and critical evisceration that are at least in part something Aronofsky must have expected, given how dedicated mother! is to destroying pleasure, to refusing the breast that its unnamed female protagonist (we'll call her X, in honour of Joan Fontaine's similarly anonymous heroine from Rebecca), played by Jennifer Lawrence, offers her infant in one of the multifarious religious tableaux that litter the piece. In fact, were the film a river to be crossed, the stones you'd step on would all be depictions of holy martyrs and Madonnas. In this way, it resembles Children of Men–even through to its long urban war and siege sequence, which mother! replicates during its feverish conclusion. It resembles Viridiana, of course, and The Exterminating Angel. It resembles all the great symbolist films because it's one of them.

Noah (2014) – Blu-ray + DVD + Digital HD

July 16, 20142014, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Directors: Darren Aronofsky, Drama, DVD

click any image to enlarge

***/**** Image A+ Sound A+ Extras A-
starring Russell Crowe, Jennifer Connelly, Ray Winstone, Anthony Hopkins
screenplay by Darren Aronofsky & Ari Handel
directed by Darren Aronofsky

by Walter Chaw Unapologetic, curious, atavistic in its single-mindedness and simplicity, Darren Aronofsky's Noah is more impactful in the rearview than in the moment. It's got a hell of a wake. The film is beautiful to look at, it almost goes without saying–as grand and ambitious as its ideas, with one sequence depicting what appears to be the case for intelligent design. It's truly audacious. In many ways the movie The Fountain wanted to be in terms of scale (and featuring another Clint Mansell score that sounds every bit like a continuation of themes), Noah is a deeply insane interpretation of one of the Bible's briefest (essentially Genesis 5:32-10:1), most contentious, most instantly-relatable and hence most-beloved of all Old Testament stories. I can only speculate what the Christian response will be (somewhere between mine and Glenn Beck's assignation of it as the "Babylonian Chainsaw Massacre" is my guess), but for an atheist who counts many strong Christians among his friends, this interpretation is full of the menace and wonder that scripture must hold for the devout. It's a stirring creation mythology in that it makes no bones about the interference in the affairs of men by a vengeful God. Likewise, it makes no apologies for the atrocities it represents in its visions of suffering and sin. (I can only imagine what Aronofsky's Sodom would look like.) Noah even finds time for a dialogue about religious fundamentalism and what happens when absolute faith becomes rationale for atrocity. It's a story about the annihilation of 99.9% of human life on the planet that's ultimately about the value of compassion, and it's a critical read of divine texts that skew in that direction. After a series of films attempting to explain the ways of the divine to the mundane, here's hoping for an Aronofsky adaptation at last of "Paradise Lost": a most comfortable marriage of material and artist.

Black Swan (2010)

December 3, 2010****/****, 2000s, Authors: Walter Chaw, Directors: Darren Aronofsky, Drama, Theatrical, Thriller

****/****
starring Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey
screenplay by Andres Heinz and Mark Heyman and John McLaughlin
directed by Darren Aronofsky

by Walter Chaw She's incapable of reaching climax throughout the first hour of Black Swan, but then the floodgates open in the most Keatsian work in Darren Aronofsky's growing portfolio of Romanticist explorations. Call it a ballet of the consummation sublime, the idea that once achieved, the immediate disappointment and disgust for the act overwhelms the sexual release of the moment before–and watch Black Swan in a lovelorn double-feature with Jane Campion's Bright Star for the full impact of Aronofsky's achievement here. As a thriller, Black Swan doesn't do much more than graft a few phantom frames onto the periphery of Jean Benoit-Levy's Ballerina, Altman's The Company, or Powell/Pressburger's The Red Shoes–but note how the picture owes its creepy intensity to the sort of social satire-through-body horror popularized by David Cronenberg. (Though it's Cronenberg as fever dream rather than as insectile chill.) Note, too, how Natalie Portman finally finds herself the actor she was always considered to be in a role that breaks her legs and feet, forces her to masturbate and self-mutilate, and in the end transforms her into the very effigy of the absolute, voracious, consumptive nature of creation. In its nasty sexual biology, it's the evocation of the secret ending to Charlotte's Web–the off-stage fucking, and cannibalism, and matricide, and all that hunger prettified into a phrase artfully turned.

TIFF ’08: The Wrestler

September 9, 20082000s, Authors: Bill Chambers, Directors: Darren Aronofsky, Drama, Film Festivals, France, Sports, TIFF

***½/****starring Mickey Rourke, Marisa Tomei, Evan Rachel Wood, Todd Barryscreenplay by Robert Siegeldirected by Darren Aronofsky by Bill Chambers Mickey Rourke has spent the Aughties staging a series of mini-comebacks, but they've mostly sidestepped his iconography in favour of transforming him into a character actor. Not so Darren Aronofsky's The Wrestler, which is poignant largely for how it reflects and refracts the Mickey Rourke mystique. Quite aware of his film's ghoulish appeal, Aronofsky, after spotlighting the visage of young, beautiful Mickey Rourke under the main titles, shields Rourke's face from view long enough that even though we know what he…

The Fountain (2006)

November 22, 2006****/****, 2000s, Authors: Walter Chaw, Canada, Directors: Darren Aronofsky, Drama, Esoterica, Mystery, Romance, Sci-Fi, Theatrical

****/****
starring Hugh Jackman, Rachel Weisz, Ellen Burstyn, Mark Margolis
written and directed by Darren Aronofsky

by Walter Chaw As deeply emotional and damnably frustrating as any work of pure individual vision must be, Darren Aronofsky's long-gestating The Fountain is officially devastating from about thirty-minutes in and buoyed by its singular vision for the remainder. A film that defines the fatigued term "ambitious," it's the story of Man's need to transcend the physical, to defeat mortality, to address the divine that takes the form of what the director has called "science-fiction for the new millennium." Is it arrogant to seek to redefine an entire genre? No doubt–but it's that exact genus of hubris under the microscope in The Fountain, with its three interwoven storylines concerning the courage to explore new worlds armed and shielded only (and enough) by dogged, ragged faith, and so Aronofsky's arrogance becomes, only as it should be, the connective fibre that binds his film together. The Fountain is philosophy, posing questions about the nature of art, of communication, of the truly big questions of existence. And because it's good philosophy, it doesn't seek to answer the mysteries of our intellectual life, but rather offers as the only humanist answer another mystery: love. It's oblique to the point of opaque for long stretches of its "future" passage (involving the voyage to a nebula wrapped around a dying star in what appears to be a bubble housing a hilltop and a tree) and verges on the brink of camp in "past" segments set during the Age of Discovery and the Spanish Inquisition, yet it finds its core–its thematic and emotional anchor–in the "present" with a research scientist's race against his wife's voracious cancer.