Thank God a movie can still have a unique language. Film is such a powerful medium, and we're so familiar with all its tricks, somebody should be challenging its uses... Darren Aronofsky displays acute discipline.
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: PG-13 [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:2006
Box Office: $10,046,093
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.
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Reviews for The Fountain
It's Solaris by someone who can mimic the visual beauty of that work but cannot replicate the soul of the it.
The Fountain is masterful on so many unique levels, presenting a demanding filmgoing experience that should elicit a grand sense of awe on an emotional and spiritual level.
I'm all for a movie making us think, but I am worried Aronofsky, no matter how much I respect him as a director and writer, went a little too far with this one.
Aronofsky speeds back and forth across centuries with the virtuosity of '2001'-era Stanley Kubrick, and it's all you can do to hang on.
Though his movie is visually inventive, writer/director Darren Aronofsky has fashioned a ponderous, overblown, genre-bending mess.
interesting without being enthralling, pretty without being striking, and somber without being ominous
In an era in which even the so-called independent cinema chases formulas and is ruled by a cowardly herd instinct, you really have to admire Aronofsky's guts for making such a risky, uncompromising, spiritual-minded film.
In his third feature, Darren Aronofsky tries to replace the prose of narrative cinema with a poetic language of rhyming images and visual metaphors.
A little surrealism to advance the theme of the movie is brave; a lot of tedious navel-gazing is just selfish.
A metaphysical melodrama about the quest for eternal life, it makes a pretty decent case for euthanasia; here is what it's like to long for a swift, merciful end.
This would-be science-fiction epic is so overcrammed with ideas that it actually feels a bit shallow, unfocused and scattered.
For all the thunderous beauty on-screen, its profundities exist more in the concept than the execution.
[It is] an impressionistic film, with death as its muse, sticking out so confidently from the current crop of...well, anything.
With its whispered dialogue and funereal tone, The Fountain takes itself far too seriously. No one else will.
The Fountain is not an unmitigated disaster -- just a disappointment from an undeniably talented filmmaker.
Aronofsky's long-time-coming version of spiritual wonder is finally more mind-numbing than soul-stirring.
Even without all the bells and whistles, it still boils down to one love story worth seeing.
Next time around, it wouldn't be a terrible idea for Aronofsky to allow his characters the chance to smile.
The premise is lachrymose, the sets are clammy, and the metaphysics all wet. The screen is awash in spiraling nebulae and misty points of light, with the soundtrack supplying appropriately moist oohs and aahs.
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