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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
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.
One can easily appreciate the sheer vision, rich imagination and boldness of such a picture
The continuous sense of deeply felt discovery tempers the movie's overreaching pretentiousness
This film raises an interesting question: How far is a viewer willing to follow a talented filmmaker down a rabbit hole, when it becomes clear that said filmmaker has lost his way?
It's a simple story told with Zen directness, its fingers deep in the age-old questions, its eyes and ears wide open to the sensual potential of cinema.
I will concede the film is not a great success. Too many screens of blinding lights. Too many transitions for their own sake. Abrupt changes of tone.
Seldom in cinema has eschatology been treated with such intelligence, or inspired such aching awe.
Yes, The Fountain is ridiculously pretentious, pining for your attention like a sixth grade emo kid. And I love it to pieces.
If one is to be left with something in the end, it is the realization that its creator is fully in love with not just the result of his art, but the very happening of it.
Beautiful and profoundly moving...This is a film I want to see several more times.
...more a middling entry in the message/sci-fi/fantasy genre than the groundbreaking venture its ponderous tone would lead us to believe.
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 key line, spoken by a Mayan priest, is 'Death is the road to awe', and this movie truly puts the 'awe' into awful.
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