WTF to STFUI cannot recall the last time a film made me as angry as Darren Aronofsky’s mother! Maybe never. (Yes, the title is most emphatically with a lowercase “m” and an exclamation point. And yes, that’s emblematic of what’s making me so angry.) As mother! I found myself actually clenching my jaw with ever- increasing fury as Aronofsky’s head wended its way further and further up his own cinematic ass only to declare just how delicious his farts smell. This is a filmmaker for whom mysticism and trippiness have been essential components of his work since the beginning, since his feature debut with 1. Pi… and I’ve often been a big fan of that.

I loved his last film, 2. Biblical fantasy Noah.) But never before like this. Never before has an uncomfortable ugliness he was exploring landed with such repulsive pointlessness, such transparent predictability. Aronofsky is intent on presenting to us in faux metaphysical trappings a “truth” he seems to believe is secret and cryptic yet that is, in fact, utterly banal and inarguable. He has given us a grotesquely wrapped gift box that contains nothing but shredded newsprint sprinkled with a bit of horseshit.“Mother” tries to imagine what color looks like, but her puny ladybrain is not capable of this. I’m sure Aronofsky — who wrote the script as well as directed — would say it is.

Allegory and metaphor are what you find hidden underneath a top layer of story that stands on its own. Nothing here makes a damn lick of sense — not even in a nightmarish, fever- dream sort of way — except as the literal sequence of events that plods across the screen, and the “characters” are nothing more than cardboard stand- ups representing themselves. No one has a name here, but the press notes and the credits refer to Jennifer Lawrence’s (Passengers, X- Men: Apocalypse) character as “Mother,” even though she does not become a mother until halfway through the film, and even though it actually does not seem likely during that first half that she will ever become a mother.

Motherhood is simply her inevitable fate, I guess. Mother has no existence outside the huge, rambling mansion in the middle of nowhere where she lives with her husband (Javier Bardem: Pirates of the Caribbean: Salazar’s Revenge, The Gunman).

He does have an external existence: he is not “Father” but “Him.” He is able to leave the house and venture far beyond their middle- of- nowhere — she never does — and he is a writer, a poet, someone with adoring fans eagerly awaiting his next book, someone with work that bears no connection to her, beyond how, of course, she serves as his muse, his “inspiration.” She literally does nothing but serve him: she is renovating the house, which burned down before they met. She wants to “make a paradise” for him. She has no other desire. She has no personality or purpose beyond that.

We cannot even call her self- abnegating: she doesn’t appear to have had any self to begin with. She might actually be a manifestation of the house, which has a bloody heart and a bleeding vulva — yes, the house has these things. The house is as alive as she is. Watch Amnesiac HD 1080P. Or she is as dead as a house. Anyway, paradise is invaded: one of Him’s stalkerish fans, Man (Ed Harris: Run All Night, Gravity), stops by for a visit, and won’t leave. Later, Man’s wife, Woman (Michelle Pfeiffer: Dark Shadows, New Year’s Eve), arrives and makes herself obnoxiously at home. Woman is also pretty much defined solely as a mother, to adult sons Oldest Son and Younger Brother (played by real- life brothers Domhnall [The Revenant, Star Wars: The Force Awakens] and Brian Gleeson [Logan Lucky, Snow White and the Huntsman]).

If Mother’s “paradise” comment was a tip- off, the Cain- and- Abel dynamic between the adult sons cements it: Aronofsky is going to wallow in a tortured literalism not only about literary creation but capital- C Creation, but only from a narrow and abhorrently misogynistic perspective: men create, and Create, and women suffer for men’s art, and for men’s religion, and that’s just the way it is, now and forever. Dude, we know. This is not something you discovered.

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2. Darren Aronofsky’s self-pitying cinematic rending of garments is repulsive, transparent, and pointless. A grotesquely wrapped gift box of utter banality.

Or did you honestly only just learn this?) In Aronofsky’s eye here, women do not create — beyond giving birth to sons for their fathers to do with as they please — and there is no vision or imagination that comes from the mind of a woman: Mother dresses in drab neutrals, and she’s painting Him’s house in the same noncolors. The creativity of men, however: Wow! It is chaotic and violent, apocalyptic, even. It thrives on chaos and violence.

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Him craves that excitement, and encourages it, and too bad if Mother will become a victim of it.“Mother” tries to imagine what life beyond the house is like, but her uncreative ladybrain fails her. Mother exists for no purpose in this tale except so that abuse may be heaped upon her in the service of Him, and so that she may be venerated by Him for it. But that is also the purpose of Mother to mother! The most generous interpretation of Aronofsky’s intent here is that he is somehow condemning the reduction of women to dehumanized objects and brutalized symbols in both the overarching mythology of our culture and in the prosaic daily operations of Big Entertainment, such as — ahem — the making of movies and the resulting stories that end up on the screen.

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Aronofsky may even think he is sympathetic to Mother: the entire film is seen through her eyes, and intimate handheld cameras give us her dizzied, sickened perspective on events that are horrifying and menacing her. But it’s the same hatred for women masquerading as feminism that a slasher flick engages in when it sexualizes a final girl’s terror for the titillation of the audience. You don’t counter the awful crap that gets piled on women by our culture, High or Low, by piling on more of the same awful crap.

See also: Ex Machina and Under the Skin for two other recent contemptible attempts by male filmmakers to have their feminist cake and their misogyny too.) If mother! Mother” wonders why her husband loves his fans more than her, but her sad ladybrain finds no answers. But the worst, the absolutely most infuriating thing about mother! Woe is the male- creator- god, so afflicted by his talent, so tormented by his doubt, so wracked by artist’s block! Look at the damage the love of his fans, and his love for his fans, causes!

Look what his genius made him do to his inspiration, his muse! It hurts him more than it hurts her, don’cha know.

This is how abusers talk. Not that there is any awareness of this on the part of the film.) And any supposed feminist wokeness on Aronofsky’s part that might redeem this cinematic rending of garments, this creative self- flagellation, is instantly negated by screaming reality. The filmmaker might think he has scorned his poet- god’s need for validation and “inspiration” in a trite much- younger woman — there are 2. Bardem and Lawrence — when he has Man scoff, “I thought she was your daughter,” not wife.

But this is true: Aronofsky, who is precisely the same age as Bardem, is now dating Lawrence. So is Bardem’s poet- god worthy of scoff and scorn, or worth emulating? What of Aronofsky? Sometimes it’s easy and fine to separate the art from the artist, and sometimes he makes that laughably impossible.

Wonder Woman's 5 Biggest WTF Questions. Share. Gal Gadot’s solo movie looks like a hit, but we’ve still got a few plot points we’re scratching our heads over…. By Scott Collura.

Wonder Woman’s solo movie has arrived to both critical and fan acclaim. But as much as we liked the film, we’ve still got some questions about its plot. And about how it connects to its predecessor, Batman v Superman. Here are our 5 Biggest WTF Questions About Wonder Woman… Obviously complete and utter spoilers follow! Why Did Steve Trevor Have to Die?

Steve Trevor sacrifices himself at the film’s climax, exploding the plane he’s piloting in order to keep its payload of deadly gas away from the Germans. It’s an effective and emotional moment in Wonder Woman, but it does raise the question of why Steve didn’t just land the plane safely away from the Germans, maybe in a field somewhere? Diana had already killed General Ludendorff at that point, and he was the chief proponent of continuing the war and preventing the armistice.

So did Steve die in vain? Of course, the real answer here is that Steve’s death serves as a dramatic and memorable turning point in Wonder Woman’s life. His death helps cause her full powers to kick in, and his sacrifice also shows Diana that mankind is ultimately capable of doing great good, just as it is capable of great evil. But still, plot- wise it doesn’t make that much sense.

How Could General Ludendorff Go One on One Against Wonder Woman? We know the obvious answer to this question is “because Doctor Poison made that special elixir for him.” And indeed, actor Danny Huston even explained this for us when we spoke to him recently. Watch that chat below.)But the real answer is that General Bad Guy’s face got all glowy whenever he sniffed Poison’s gas because it was meant to give us the false impression that he was actually Ares. It does make us wonder, however… If the elixir made him strong enough to go one on one against even Wonder Woman, then why didn’t Ludendorff have it mass- produced so all his troops could become super soldiers? Why Didn’t Diana Return to Themyscira after World War I?

By the end of the film, Wonder Woman has killed Ares, the war is over, and her great love is dead. So why does she stick around in Man’s World and not return home to Themyscira? Sure, we don’t know for certain that she didn’t go back at some point, since about a century has passed between the war and the modern version of Diana. But the implication seems to be that she chose to stay among humankind, even while she opted out of using her power to fight evil. Perhaps she can’t return to Themyscira even if she wants to.

Her mother Hippolyta tells Diana that if she leaves, she may never return. Obviously this could just mean that the she fears for her daughter’s safety out in the world, but perhaps the queen meant it more literally. Could it be that piercing the veil that hides the island isn’t so easy, and Steve’s crossing over was a freak accident? Or maybe Diana’s just been banished. In the Wonder Woman Rebirth comic, she isn’t allowed to return to the island if she leaves. Losing her home is the price she pays to be Wonder Woman and help Man's World.

And by the way, what is Diana doing these days anyway? She’s some kind of antiquities curator at the Louvre in Paris, but could there be more to this job than meets the eye? Perhaps she’s tracking down all the Ares- inspired weaponry from throughout history…4.

Why Did Diana Give Up Being Wonder Woman for a Century? Batman v Superman makes it pretty clear that something in Diana’s past caused her to give up the hero life for a long, long time.

And it seems clear now that Steve’s death spurred that on. But why? Her journey in Wonder Woman, as we previously noted, has her coming to the realization that mankind is capable of both great evil, and great goodness. If anything, Steve’s sacrifice should’ve driven home the notion that a heroic life is the correct path, and that living such a life would be a tribute to the memory of Steve. But instead, it seems Diana went to work in a museum…It’s possible that Wonder Woman continued to be a hero for years after the war, and that she only abandoned humanity because of some later, dark incident. If so, maybe this is a question that the filmmakers plan to answer in a later film.

But for now, it remains a head- scratcher. So Diana Didn’t Fight the Nazis Then? This ties directly into the previous question, but it’s a pretty big deal if Wonder Woman chose to not fight in World War II. Her activities after the so- called War to End All Wars are of course ambiguous, no doubt intentionally so. So yes, it could be that she didn’t sit out the war at all, but if even Batman hadn’t heard of her until Bv. S then that seems a bit of a stretch.

And after discovering her, all the World’s Greatest Detective could dig up was that one photo of her with her old World War I allies? And nothing from WWII?

Assuming she didn’t battle the Nazis, then Wonder Woman missed the most important war of the modern era. Weird. And this also leads to the question of why she finally decided to put the tiara, gauntlets and lasso back on and join Batman and Superman in Dawn of Justice.

Hitler wasn’t enough… but this guy was? Watch Bad Country Streaming. For more on the new film, be sure to check out our Wonder Woman review. Or watch our chat with director Patty Jenkins about why Wonder Woman kills. Talk to Senior Editor Scott Collura on Twitter at @Scott.