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We wished to make a punk film and come at you. And the factor I wished to come is due to the fact that I was extremely unfortunate and I had a great deal of distress and I wanted to express it." Crucial response [modify] Mom! received typically Related Source Here from critics, who praised Aronofsky's instructions and the performances, particularly those of Lawrence and Pfeiffer, however it got both boos and a standing ovation throughout its best at the Venice Film Celebration, and its scriptural allegories and representation of violence triggered controversy.

0/10; the site's important consensus reads: "There's no denying that Mother! is the thought-provoking product of a singularly ambitious artistic vision, though it may be too unwieldy for mainstream tastes." On Metacritic, the movie has a weighted average score of 75 out of 100, based upon reviews from 51 critics, indicating "normally favorable reviews".

Owen Gleiberman of, in a positive review of the movie, called Mom! "a piece of ersatz humankind", and wrote: "By all ways, go to 'Mother!' and enjoy its roller-coaster-of-weird exhibitionism. But be afraid, extremely afraid, only if you're intending to see a film that's as truthfully disquieting as it is flashy." Peter Travers of awarded the movie 3.

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He likewise applauded the movie's allegorical narrative and the efficiencies of Lawrence, Bardem, and Pfeiffer, and stated, positively, that the cinematography "always appears on the brink of taking off". Composing for the, Michael Phillips said: "Darren Aronofsky delivers a damning review of the artist/muse arrangement, even as he confesses to its old-fashioned patriarchal simplicity." He likewise described the movie and its script as "grand and conceited and, in quick strokes, pretty vicious," while drawing a similarity to Aronofsky's film.

It is an event-movie detonation, a phantasmagorical horror and black-comic problem that jams the narcosis needle right into your abdomen." Ignatiy Vishnevetsky of gave the movie a B+, composing: "the filmmaking ranks as some of Aronofsky's most skilled". Ben Croll of gave the film an A, keeping in mind: "Awash in both spiritual and modern political images, Darren Aronofsky's allusive film opens itself to a variety of allegorical readings, but it also works as a straight-ahead head rush." In an essay for, Martin Scorsese said: "It was so tactile, so beautifully staged and actedthe subjective camera and the POV reverse angles, always in motion ...