Bonkers, adventurous, silly, ambitious, charming, foolish; it's all those things and it'll be gone in a week. But it's not mainstream Bore-o fare, and for that it should be celebrated.
The Fountain (2006)
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Reviews Counted:187
Fresh:96
Rotten:91
Average Rating:5.9/10
Consensus: The Fountain -- a movie about metaphysics, universal patterns, Biblical symbolism, and boundless love spread across one thousand years -- is visually rich but suffers from its own unfocused ambitions.
Rated: 12A [See Full Rating] for some intense sequences of violent action, some sensuality and language.
Runtime: 1 hr 36 mins
Genre: Science-Fiction/Fantasy
Theatrical Release:26-01-2007
Synopsis: It's been a long, strange trip since Darren Aronofsky last invited viewers into his cinematic world--six years in fact--but THE FOUNTAIN is sure to enchant, beguile, and inspire intense debate... It's been a long, strange trip since Darren Aronofsky last invited viewers into his cinematic world--six years in fact--but THE FOUNTAIN is sure to enchant, beguile, and inspire intense debate among his patient fans. During the frustrating gap since 2000's REQUIEM FOR A DREAM, Aronofsky has struggled to bring THE FOUNTAIN to the screen, principally because leading man Brad Pitt dropped out of the project. The complex tale is split into three different time periods, beginning in the 16th century, when a conquistador named Tomas (Hugh Jackman) strives to find the Tree of Life. The second part of the story finds Jackman playing a Buddha-like character who zips through outer space and dreams of a woman named Izzi (Rachel Weisz). And the third part, which consumes most of the film's screen time, is set in the present day and sees Jackman playing a doctor named Tommy, who is married to the terminally-ill Izzi. In this third section Tommy strives to find a cure for Izzi's brain tumor, and makes some progress after experimenting on a monkey with a substance discovered in a tree in South America. Meanwhile, Izzi has been writing a book that she calls THE FOUNTAIN, but has left the final chapter for Tommy to write. As Aronofsky pushes and pulls his sepia-tinted film between the three time periods, he weaves a deeply thoughtful, special effects-laden story that touches on themes of mortality and self, and requires a great deal of work from the director's audience. Movies such as Kubrick's 2001 and Tarkovsky's SOLARIS come to mind as Aronofsky gets deep into philosophical waters, and the various story strands of THE FOUNTAIN are as inconclusive and open to interpretation as the films that have clearly influenced it. The film makes for uneasy and sometimes confusing viewing, but will find its audience among intrepid souls who are fully prepared to let go and immerse themselves in Aronofsky's peculiar, daring, and thoughtful cinematic universe. [More]
Starring: Darren Aronofsky, Hugh Jackman, Rachel Weisz, Ellen Burstyn
Starring: Darren Aronofsky, Hugh Jackman, Rachel Weisz, Ellen Burstyn, Ethan Suplee, Cliff Curtis, Sean Gullette, Mark Margolis, Donna Murphy, Sean Patrick Thomas, Stephen McHattie
Director: Darren Aronofsky
Director: Darren Aronofsky
Story: Ari Handel
Producer: Arnon Milchan, Iain Smith, Eric Watson
Studio: Warner Bros.
Reviews for The Fountain
The key line, spoken by a Mayan priest, is 'Death is the road to awe', and this movie truly puts the 'awe' into awful.
The Fountain's message is that life is short, so we should make the most of it, and that's a message which should take one of two centuries, and one or two hairstyles, at most.
I’ve sat through lots of navel-gazing movies that would have been vastly improved by the addition of some 16th-century conquistador action; Aronofsky’s film is still a bore, Its ideas and images too airy-fairy to have emotional force.
Ambitious? You bet, but also a towering, tumultuous folly. It's the movie equivalent of a prog-rock double album, short on humour, long on pomposity, and as for what it all means - you might well ask.
If Kubrick’s 2001 got your juices flowing with its stunning, unexplained other-worldliness, this is a movie you could be mad for. Or it might be just a load of old tosh.
Oscar winners Rachel Weisz and Ellen Burstyn provide solid support. But what they’re doing wasting their time in this junk is as unfathomable as the film itself.
Aronofsky's last effort, Requiem For A Dream, was a heartfelt film about drug addiction which I greatly admired. Here, alas, he addresses a big, metaphysical topic with pitiful naivety. And he goes on and on and on, with nothing interesting to say.
Science-fiction meets emotional fact. An intelligent, time-spanning love story that deserves the benefit of any doubt. Watch. And watch again.
There is a strange deadness in the film, together with a callow self-importance and self-pity which become more stultifying with every minute that passes.
Incoherent, pretentious and boring, Aronofsky's film appears as terminally stricken as its female lead. While a re-edit is unlikely to help, it may be better served on DVD, where its jigsaw-like structure can be more fully appreciated.
First, the good news: The Fountain is only 97 minutes long. Now the bad: that's 97 minutes of rampant metaphysical codswallop.
At heart, this is a simple Zen fable about love and death. In execution, it’s a complex and gorgeous mini-epic with sterling performances from its two stars.
Lurches on a thin line between hyper-ornate space oddity and extended perfume advert.
At heart, this is a simple Zen fable about love and death. In execution, it’s a complex and gorgeous mini-epic with sterling performances from its two stars.
Ambitious, beautifully shot and superbly acted, the all-out surrealness of The Fountain may be too much for some, but the rewards are there if you're prepared to surrender yourself to it.
Lyrical and haunting, this film is a powerfully engaging examination of mortality and grief wrapped up in a sci-fi fantasy.
The continuous sense of deeply felt discovery tempers the movie's overreaching pretentiousness
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