leading to articles like this one, which is a list of great female-led horror films over the years

That is an excellent list, and reminded me of a few movies I still need to see. (I really need to rewatch both Ginger Snaps and Stoker. ) And we watched The Innocents at last night's monthly Gothic Movies series at Scarecrow Video!

But damn, I hated Possession. I couldn't finish watching it. I like weird and surreal horror, but that movie felt like uncomfortable crazy mixed with the worst of pretentious art school wankery.

I kinda feel like I should watch it to see what the fuck it's all about. But what I've read so far about the film made it sound soooo unpleasant, ugh.

Many friends of mine who are film buffs and horror movie fans have been meh-to-uncomplimentary about Mother. Like, aggressively meh-to-uncomplimentary.

I saw a review in Esquire that compared Mother to The Apple , so I'm inclined to give it a shot, in case it's the kind of bad that's actually awesome.

Sophia, I'd love to see those women together. Also, if you liked Saved!, you might enjoy "Paradise." Also reccing it for disabled women, because, though, not about disability in the most overt sense, it is.(the main character has burn scars and also missed out on a lot in life.)

Why do people cast Sam Worthingon in things?

Working off still pictures rather than auditions or demo reels? That's the only explanation that makes sense to me.

Why do people cast Sam Worthingon in things?

I was about to be very upset, then I realized that I misread this is as Sam WATERSTON, and now I'm okay.

I totally get Sam Waterston. He is non-bland and talented, neither of which seem to apply to Worthington.

Nobody except film critics are going to the theater to see Darren Aronofsky's Mother! but the discussion *around* the film has been so sustained (it's mostly my fault to following so much of Film Twitter) that I kinda feel like I should watch it to see what the fuck it's all about. But what I've read so far about the film made it sound soooo unpleasant, ugh. The only other Aronofsky I've seen is Black Swan, which I quite enjoyed for what it was (high camp disguised in fine arts feathers).

I saw it (admittedly, in the company of the film critic I married, who saw it first at TIFF), and I am very glad I made the effort to see it in a theater, surrounded by other people who also paid to have this experience.

It's actually very similar to Black Swan in tone, I think. Maybe. I can't tell if Aronofsky actually has a sense of humor, or if his extreme earnestness just comes across that way. This movie is VERY COMMITTED TO ITS GOALS, WHATEVER THOSE ARE.

The only other film I can think of to compare it to is Synedoche, NY, which I *loved*. Where that movie is very thinky, this movie is very feely. It feels its feels at you SO HARD. And sometimes there are METAPHORICAL FEELS and sometimes they are VERY LITERAL FEELS. And sometimes I don't think he knows the difference! Whee!

In conclusion, I both side-eye and admire this movie in about equal proportions, and would like more people to go see it so we can talk about whether it's a brilliant and intricate allegory, or a hot mess of an allegory.

I did end up seeing mother! late last week. It is as bonkers as reported, and I'm still not sure how I feel about last half hour, where crazypants stuff happens that probably drove people to walk out. The thing is, none of the characters register as characters. They are symbols and archetypes and are deliberately pictured in broad strokes, so even when horrible stuff was happening, it didn't invoke much of an emotional response in me (or maybe I am just an unfeeling bitch). It *was* fun to think about multiple possible interpretations and meanings of the film afterward, both obvious and not so obvious. I did get a sick laugh out of the whole Creator/Muse take on the allegory and the fact that Lawrence started dating Aronofsky right after filming this. The mind boggles.

While the ending made me go "...um," I quite enjoyed the first half of the film, especially the performance by Michelle Pfeiffer, whose deliciously snide presence was much missed when she was not on screen. I'm just glad to see her back on my movie screen, period (and looking forward to seeing more of her in Murder on Orient Express.)