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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.
Runtime: 1 hr 36 mins
Genre: Science-Fiction/Fantasy
US 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.
Reviews for The Fountain
One can easily appreciate the sheer vision, rich imagination and boldness of such a picture
I don't pretend to fully understand Darren Aronofsky's latest film, to unravel its knots of time and character, or its oozing realities. But at its core there is the unmistakable essay on the way love is cheated by death, just as death is cheated by love.
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.
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.
In his third feature, Darren Aronofsky tries to replace the prose of narrative cinema with a poetic language of rhyming images and visual metaphors.
Mr. Aronofsky’s outlook on life remains too constantly pessimistic for my taste, and too completely joyless as well.
Like Pi, Aronofsky's first feature, The Fountain combines spiritual mumbo jumbo with vaguely scientific concerns, only even more pretentiously this time.
The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them.
Aronofsky's long-time-coming version of spiritual wonder is finally more mind-numbing than soul-stirring.
If Aronofsky's just gone over my head, I'm prepared to live with that.
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.
The movie has some beautiful and surreal images, but they deserve to be part of a deeper story. I didn't dislike this, but I didn't like it as much as I wanted to when I first saw the trailer.
interesting without being enthralling, pretty without being striking, and somber without being ominous
The new Darren Aronofsky film, "The Fountain," is high-concept, metaphysical trash that shoots for the heavens--literally--but which likely will leave some wondering how they paid eight bucks to walk through the doors of hell.
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.
It’s as if Aronofsky was so consumed with the film’s elaborately contrived aesthetics that he took no time for a little thing called character development.
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December 05, 2008:
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