Following its world premiere at the Venice Film Festival on Tuesday (September 5), the first critics' takes have been coming in and are largely positive.
The movie has divided critics, who have struggled to categorise it, but Lawrence said she enjoys projects that don't fit into one genre. You could say that Aronofsky is drawing on The Shining (the isolated setting and Bardem's stony resentment) and also on Rosemary's Baby, the greatest of all paranoid horror films. It's more like a dazzingly skillful machine of virtual reality created to get nothing but a rise out of you.
The flick is slated to hit theatres on September 15.
Academy attention will nearly certainly focus on Jennifer Lawrence who plays the title character, and through whose perspective - and on whose face - Aronofsky lingers throughout. If you're Jennifer Lawrence, you find the most handsome sheer ballgown hanging in your wardrobe (or closet, as she probably calls it) and throw it on. It's extremely adventurous and is willingly open to both praise and snickers. I was surrounded by shrieks, yawns, laughter, smiles and a man who yelled "fuck you" at the screen as soon as the credits started.
"... Aronofsky's film is ultimately concerned with the parasitic nature of the male artist; how he drains the lifeblood from all those around him in the name of creativity and ego fuel".
For Ben Croll of IndieWire, mother! is "too hazily figurative to be in any way autobiographical", but nonetheless comes across as more than just "another baroquely orchestrated big-screen freak-out in the vein of Black Swan (though it is very much that)". Tweets reflected a sense that mother! might have to sit with viewers to be fully understood.
Aronofsky penned the script in just five days and Lawrence said she had an immediate reaction to it.