Jennifer Lawrence is not only one of the highest-earning actresses in Hollywood, she’s also one of the most hardworking and prolific, presiding over a career that has spanned more than two dozen movies across two decades. p2u18

If you haven’t had the opportunity to explore some of these brilliant roles for yourself, then this list is what you’ve been looking for. Here are some of Lawrence’s greatest movie roles, ranked worst to best, according to the IMDb ratings.

15. Like Crazy (2011) 5w5q2g

IMDb rating: 6.6 based on 60000+ votes
Starring: Felicity Jones, Jennifer Lawrence, Anton Yelchin, Charlie Bewley

A romantic drama between two students; one British, and one American. Things start to go wrong when Anna (Felicity Jones) violates her student visa and overstays her welcome.

14. Joy (2015) 2j1yw

IMDb rating: 6.6 based on 140,000+ votes
Starring: Jennifer Lawrence, Robert De Niro, Bradley Cooper, Edgar Ramírez

The story of Joy, who rises to become a powerful founder of a business empire.

13. Red Sparrow (2018) w6s5b

IMDb rating: 6.6 based on 190,000+ votes
Starring: Jennifer Lawrence, Joel Edgerton, Charlotte Rampling, Matthias Schoenaerts

After Dominika Egorova suffers a terrible injury causing her ballerina career to come to an abrupt end, she gets recruited into Russia’s intelligence service, and a branch called Sparrow School.

12. Mother! (2017) 53p2m

IMDb rating: 6.6 based on 240,000+ votes
Starring: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer

Another mind-bender by director Darren Aronofsky, featuring Jennifer Lawrence and Javier Bardem as a couple whose peace is disrupted when strange people come to visit them at their house.

11. The Hunger Games: Mockingjay – Part 1 (2014) 145y8

IMDb rating: 6.6 based on 480,000+ votes
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

The first part of Katniss Everdeen’s final adventure in District 13. After having destroyed the games and their relevance, Katniss fights against the system to bring about a new future for her people.

10. X-Men: Apocalypse (2016) 4919t

IMDb rating: 6.9 based on 450,000+ votes
Starring: James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult

The X-Men band together to fight another evil being, one who is looking to bring about the end of everything and destroy the world.

9. engers (2016) 176k65

IMDb rating: 7 based on 430,000+ votes
Starring: Jennifer Lawrence, Chris Pratt, Michael Sheen

A spaceship is traveling to a distant human colony, bearing many humans who are sleeping in cryo pods — until an incident opens one of the pods 90 years early.

8. Winter’s Bone (2010) 3f161h

IMDb rating: 7.1 based on 147,000+ votes
Starring: Jennifer Lawrence, John Hawkes, Garret Dillahunt, Isaiah Stone

An indie family drama flick centering around an Ozark Mountain girl who has to hunt down her drug-dealing father and try to keep her family together.

7. American Hustle (2013) 5v2d1o

IMDb rating: 7.2 based on 490,000+ votes
Starring: Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence

An Oscar-nominated movie about a con man and his partner who end up helping the FBI. Jennifer Lawrence portrays the con man Irving’s wife, Rosalyn.

6. Don’t Look Up (2021) 49183p

IMDb rating: 7.2 based on 570,000+ votes
Starring: Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett

Two astronomers (portrayed by Leo DiCaprio and Jennifer Lawrence) realize that a comet, large enough to destroy the entire planet, is headed toward Earth, so now they have to find a way to warn everyone that extinction is imminent.

5. The Hunger Games (2012) 3e5i23

IMDb rating: 7.2 based on 720,000+ votes
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Stanley Tucci

Katniss Everdeen begins her epic journey in the Hunger Games, taking over her sister’s place in a deadly televised competition that will go on to challenge the fate of their world.

4. The Hunger Games: Catching Fire (2013) 4k6d6e

IMDb rating: 7.5 based on 695,000+ votes
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Philip Seymour Hoffman

After sparking a rebellion with her victory in the previous outing, Katniss continues her journey in this acclaimed sequel to the 2012 movie, becoming a target for the Capitol and its tyrannical regime.

3. X-Men: First Class (2011) o21y

IMDb rating: 7.7 based on 700,000+ votes
Starring: James McAvoy, Michael Fassbender, Jennifer Lawrence, Kevin Bacon

Two groups of mutants, led by Charles Xavier and Erik Lehnsherr, come together to form a coalition, but things go awry when the latter starts pursuing a mutant who ruined his life.

2. Silver Linings Playbook (2012) 4y5v4h

IMDb rating: 7.7 based on 730,000+ votes
Starring: Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver

A rom-com centering around Pat, a man recently out of a psychiatric hospital, who tries to get his life together, but finds that things only get more complicated when he meets Tiffany.

1. X-Men: Days of Future Past (2014) 68434y

IMDb rating: 7.9 based on 730,000+ votes
Starring: Patrick Stewart, Ian McKellen, Hugh Jackman, Jennifer Lawrence, James McAvoy, Michael Fassbender

The X-Men, or what remains of them, send Wolverine back in time to prevent a catastrophe that threatens to destroy mutants and humans alike.

Darren Aronofsky has never exactly been one to play by any other set of rules but his own, so it was hardly surprising that 2017’s nightmarish mother! came under heavy fire before, during, and after its theatrical release.

Having already upset plenty of religious groups with his biblical epic Noah, the filmmaker was at least braced for the similar backlash that greeted his follow-up effort, even if the haunting psychological chiller was a million miles away from a $125 million effects-heavy blockbuster that played fast and loose with source material a huge number of people hold very dear, and take utterly seriously.

Coming off the back of his awards season darling Black Swan and his biggest-ever box office success in Noah, it was entirely fitting for Aronofsky to turn his back on the mainstream to deliver his most staunchly unpalatable project to date – and the polarizing response was entirely to be expected given the horrifying events that unfold the further the story progresses.

Blasted in some quarters for its allegorical content and unflinching depictions of violence, mother! was adored and abhorred in equal measure, but it still has plenty of vocal ers. In fact, it can’t be a coincidence that the harrowing story of one woman’s slide into the throes of insanity has embarked on a streaming renaissance right after its fifth anniversary.

Per FlixPatrol, mother! has been traumatizing an entirely new wave of viewers after gorging on the Google Play Movies most-watched charts, and there are no doubt many more sleepless nights to come as first-time audiences wrap their heads around the sheer what-the-f*ckery of the final act.

An allegory for the creation of man might not seem like the stuff of nightmares, but five years ago an influential director showed audiences that the act of genesis is as violent and traumatic as any ten ordinary slasher films.

Darren Aronofsky’s mother! might seem like a home invasion thriller at first, or even after the first act a nightmarish psycho-thriller, but there’s far more substance, and far more violence both physical and mental at play beneath every scene. So much so, in fact, that the inevitable cataclysmic end becomes more of a release than a resolution.

mother! begins idyllically and unspoiled in a tranquil country home occupied by a young woman played by Jennifer Lawrence and her husband, credited in the film only as Him, an acclaimed poet struggling to create his next book. A strange man, and later a woman, then their two sons come to the house and are welcomed with open arms by Him, despite his wife’s trepidation. This is the point in broader horror films where things begin to look familiar, but Aronofsky doesn’t allow us that familiarity, comforting or not.

Lawrence (the mother of the title) finds she is pregnant, her husband begins writing again, and something vital yet horrific begins to grow and live. The audience experiences bleeding walls, characters appearing out of nowhere, and even plasma-filled exploding light bulbs but the terror doesn’t seem to stem from a supernatural source. Instead, it’s a creative one. Eden, Adam and Eve, and most important of all, the creator Himself all lie beneath the characters. And the inevitable expulsion from the garden is explosive.

Jen’s best ever performance… Definitely on top level

— (@dyingtweetz) September 15, 2022

happy mother!’s day

pic.twitter.com/J15k6C3TnE

— BTS ♡ BLACKPINK (@itsedensor) September 15, 2022

She should’ve won an Oscar for this cause her performance was 10/10

— lizzie (@lanaorospu) September 15, 2022

Unfortunately, the film fared poorly at the box office, due not only to its mind-boggling content, but also to the fact that the accompanying ad campaign did little to nothing to let viewers know what to expect. Even so, fans on social media are celebrating the film and especially Lawrence’s performance, with many citing it as one of her best.

New year, new episode of Cinemaholics! This week, we’re taking an extended look back at the best movies of 2017, along with some discussion about the year’s overall box office, movies that disappointed us the most, and theater experiences that surprised the heck out of us. Additionally, we also list off our own Top 10s, so expect plenty of overlap and a clear favorite between all of us. For those of you who want it in writing, here it is: Will Ashton’s Top 10 of 2017: 1. Brigsby Bear 2. The Shape of Water 3. Raw 4. Lady Bird 5. The Florida Project 6. Jim & Andy: The Great Beyond 7. mother! 8. I Don’t Feel at Home in this World Anymore 9. Good Time 10. The Killing of a Sacred Deer Jon Negroni’s Top 10 of 2017: 1. Baby Driver 2. Bad Genius 3. Blade Runner 2049 4. The Florida Project 5. Brigsby Bear 6. Coco 7. Lady Bird 8. The Shape of Water 9. The Big Sick 10. Call Me By Your Name Maveryke Hines’s Top 10 of 2017: 1. Good Time 2. Brigsby Bear 3. Baby Driver 4. Lady Macbeth 5. The Florida Project 6. The Big Sick 7. Blade Runner 2049 8. John Wick: Chapter 2 9. The Killing of a Sacred Deer 10. Jim & Andy: The Great Beyond (Bonus) Matt Donato’s Top 10 of 2017: 1. Lady Bird 2. Call Me By Your Name 3. Logan 4. Prevenge 5. I, Tonya 6. Star Wars: The Last Jedi 7. It 8. Free Fire 9. Coco 10. The Disaster Artist If you like what you hear, become a Cinemaholic! Subscribe to the podcast on YouTube via the WGTC channel or available episodes on Apple Podcasts or directly from the full archive. Feel free to hang out with us on Facebook and Twitter for episode updates as well, and be sure to email cinemaholicspodcast [at] gmail.com to submit any and all . You might just hear your email read on next week’s show!

Darren Aronofsky’s mother! has finally landed in theaters, and the Cinemaholics have gathered once again to share their thoughts. The movie stars Jennifer Lawrence, Javier Bardem, Ed Harris and Michelle Pfeiffer, and we think it’s fair to say that this is one divisive piece of filmmaking. Jon Negroni and Will Ashton host this week, and they take time to review a few other titles, and even a video game during the show, as well. There’s Stronger, starring Jake Gyllenhaal and Tatiana Maslany, which tells the story of Jeff Bauman, a survivor of the 2013 Boston Marathon bombing, and also Brad’s Status, starring Ben Stiller, Jenna Fischer and Austin Abrams. Finally, Jon fills us in on the fun he’s been having with Destiny 2, which is now available for Xbox One and PS4. As always, here are the links to what was discussed this week (your Cinemahomework):

• Review of mother!
• Review of Stronger
• Review of Destiny 2

If you like what you hear, become a Cinemaholic! Subscribe to the podcast on YouTube via the WGTC channel or available episodes on iTunes or directly from here. Feel free to hang out with us on Facebook and Twitter for episode updates as well, and be sure to email cinemaholicspodcast [at] gmail.com to submit any and all . You might just hear your email read on next week’s show!

We’re finally getting to meet Mother! – Darren Aronofsky’s highly anticipated, mysterious horror film which stars Jennifer Lawrence, Javier Bardem, Michelle Pfeiffer and Ed Harris. Like the rest of the Academy Award nominee’s filmography, Aronofsky’s Mother! is not something that can be easily encapsulated, beyond the fact that it’s a work that ‘s allegorical in nature. What we can say, though, is that the film is, at its most fundamental level, a home invasion tale. The fact that Darren Aronofsky has chosen the home invasion premise as the launch point for his narrative here is at once challenging and fascinating – challenging, because it’s a very familiar sub-genre whose stories can easily fall into predictability; fascinating, because with this choice, we can go into the movie knowing that this master storyteller is going to be playing on our darkest fears in order to get his point across. That is, after all, the primary function of the home invasion setting. It’s unsurprising that the home invasion tale has risen through the ranks of successful tropes to become such a popular setting for film. After all, it’s a highly versatile premise that’s been shown to lend itself just as easily to comedy and melodrama as science fiction and horror. It’s also a premise that’s logistically favourable in of production. But, for the audience, the idea begs some exploration – why, after hundreds of variations on this theme, are we still so enamoured of the home invasion story? It is, undoubtedly, the particular combinations of ‘buttons’ it allows the filmmakers to push within us, before they even begin to layer on the points of their own story. We like to be scared, and we like to be challenged – and where better to experience those things than in the familiar surroundings of home?

In mother!, Darren Aronofsky accepts his greatest dare – channeling, and replicating, Lars Von Trier’s stylistic anarchism. Not a tremendous leap given Aronofsky’s cataloged signatures, but layers are thicker and more unhinged this time around (parallels to Emiliano Rocha Minter’s We Are The Flesh). As scenes press on, viewers find themselves imprisoned like Jennifer Lawrence’s housebound queen (possibly Mother Earth?). Always asking questions, but Javier Bardem (possibly God?) – or in our case Aronofsky – offering no answers. Expect an artistic endeavor that’ll either strike a rapturously tragic high or go up in flames of frustration, but either way, be sure to share your immediate reaction with a best friend. It’ll be solid gold.

Jennifer Lawrence stars as “Mother,” wife of – right, of course – “Him” (Javier Bardem). Their day begins as any other, but ends with a rapping on the couple’s door. In walks a doctor – known as “Man”(Ed Harris) – who believes their spacious house is a bed and breakfast. With empty rooms nonetheless, Bardem invites Harris to stay, but Lawrence is wary about her new guest. Then Harris’ wife shows up, referred to as – YUP – “Woman” (Michelle Pfeiffer), and it’s revealed that Harris is no visiting doctor – only a mega-fan of Bardem’s poetry. His dying wish was to meet Bardem, and that’s just where Lawrence’s nightmare starts. Sons waltz in (Brian Gleeson and Domhnall Gleeson), a funeral reception turns to bedlam, a religious uprising plays out in – wait, no I’ve said too much already.

Shit. Gets. Weird. Must you know more?

Be warned: the marketing for mother! is a bit misleading. Aronofsky’s tone and intention jump around without restraint, but it’s never completely aligned with any trailer’s narrative choices. You’d assume to experience some kind of Satanic birth cult, but instead waltz through Aronofsky’s inquisitive, prodding mind. Each of Lawrence’s days feeling like its own maddened one-take. Sleep deprivation playing into Lawrence’s own paranoia that pulsates both physically and psychologically. It’s like one long dream (nightmare?) where Lawrence is the only sane voice in an increasingly chaotic world (or home, given the singular setting). Bleeding walls, exploding light bulbs, characters appearing out of literal nowhere – don’t expect to be spoon fed.

Aronofsky juggles many deliberate messages throughout the film’s duration, dirtied by a provocateur’s lens. Most prominently, the shackles of a dying marriage tie Bardem and Lawrence to materialistic patchworks that dodge emotional acknowledgment. Bardem searching for “inspiration” – all he sees his wife as – and Lawrence refurbishing the skeleton of her husband’s childhood nest (an act of approval). Pfeiffer enters stage-left to represent the alcohol-medicating family matriarch, always in conflict with Lawrence’s more traditional tenancies. Discomfort ever the catalyst, which rings true through the entirety of mother!.

From here, have fun deciphering which fear Aronofsky wrestles longest to expose. Maybe a battle with relevancy, as struggling-to-write Bardem cares more about Harris’ professional idolization than he does his own wife. Maybe an obvious bastardization of celebrity culture, in which Bardem once again neglects his beloved for the warm glow of camera bulbs and adoring praise. The plight of the creative, unable to separate intoxicating fame from homely pleasures? Maybe it’s a religious uncertainty that positions Bardem as a modern-day prophet, following his rise from mere mortal to actual deity (sacrifices, uprisings, revolts; all contained).

One – myself – might argue that ego is a common thread through these themes that feel so distant, but, in of mother!, the only true connection is Bardem’s neglect of Lawrence. Elevation of societal poison plays second fiddle to a man’s dominance over “his” woman, reducing her to nothing more than a childbearing prop. Lawrence fighting for a love long gone, screaming at her spouse about why she isn’t enough. The great gender battle – males losing out as Lawrence stumbles through literal hell (a certain violent outburst is, ittedly, near-impossible to stomach).

Thus begs the question, does Aronofsky wrap it all up in a palatable way? Of course not – that’s never his desire. You will be agitated, pushed and repulsed by some of the imagery mother! favors, and then completely underwhelmed elsewhere. It’s the kind of film where a magic-looking crystal plays importance without necessitating why. Where Lawrence can track her home’s heartbeat, its visual representation rotting over time. Where a rustic prairie mansion turns from metaphor to asylum to frat party to dystopian battlefield to sacrificial chamber to ashy inferno within seconds, minutes and hours. Like throwing hot-takes against a wall and seeing which burns quickest. Is there a reward for such a task?

That is the question, and it’ll be one that’s met with criticism, astonishment and “what-the-fuckery” looks all the same. Bardem charms as Jason Isaacs once did in A Cure For Wellness. Lawrence becomes the fawning victim with a tortured gaze. Aronofsky experiments with suffering, psychosis and plenty of existential rustling; even better when Kristen Wiig or Stephen McHattie are on screen. There’s good here in the form of limitless boundaries and an artist who paints from inside the mouth of madness that’s devouring him whole.

That said? Your toleration of mother! will be determined by movie-going patience. Aronofsky is painting with some blistering broad strokes, but they’re just that – broad and undefined. Ideas splotch and are sometimes hard to distinguish, yet his work still comes together with insidious undertones. Atmosphere gained and lost, viewers struggling to grasp something that resonates. If you’ve got the stamina to keep up with Darren Aronofsky for 120 minutes worth of chanting zealots, broken souls and a constant quest for fulfillment, you might be OK. If not? Don’t expect the Rosemary’s Baby homage being suggested. There’s something more here – hopefully it works for you.

The Cinemaholics assemble this week to dig into their top picks for the season of fall movies. From Darren Aronofsky’s mother! starring Jennifer Lawrence to Matthew Vaughn’s spy sequel Kingsman: The Golden Circle and James Franco’s off-beat The Disaster Artist and many more, there are a ton of films coming out soon that are worth getting excited about. First, though, Jon, Will, and Maveryke kick off the show with a brief summer recap, discussing their favorite (and least-favorite) movies that came out between May and August. They also finish things off with a list of honorable mentions for titles they plan on catching from September to December. If you like what you hear, become a Cinemaholic! Subscribe to the podcast on YouTube via the WGTC channel or available episodes on iTunes or directly from here. Feel free to hang out with us on Facebook and Twitter for episode updates as well, and be sure to email cinemaholicspodcast [at] gmail.com to submit any and all . You might just hear your email read on next week’s show!

Throughout his decorated, award-winning career behind the lens, writer-director Darren Aronofsky has developed a knack for deeply unsettling psychological thrillers. From Black Swan to Requiem For a Dream, this is a filmmaker who thrives in a very specific corner of mainstream cinema, and after summoning a full-blown biblical epic in 2014’s Noah, Aronofsky is back, back, back with his star-studded home invasion movie, mother! Anchored by Jennifer Lawrence and one-time James Bond actor Javier Bardem – he played the disfigured Silva for Sam Mendes’ box office darling Skyfall – mother! is the story of a picture-perfect couple whose relationship is placed under threat when two uninvited guests take shelter in their country home. What begins as a forced friendship soon devolves into chaos, as Lawrence’s character begins to uncover a series of clues that connect her significant other (Bardem) with Ed Harris and Michelle Pfeiffer’s strangers. Well, we say strangers when in reality, today’s new mother! promo all but confirms that those two guests have some sort of a history with Bardem (and perhaps Lawrence, too?). First revealed via Bloody Disgusting, this extended TV spot peels back one of the film’s many layers and, in truth, leaves us with more burning questions than we had before. Nevertheless, the elevator pitch for mother! describes Aronofsky’s latest as a “very intense” psychological thriller built on three universal themes: love, devotion and sacrifice. They are, in essence, the lifeblood of any long-term relationship, but as is clear from the TV spot above, Bardem and Lawrence’s characters’ life-long bond may not be as ironclad as they initially thought, which ought to fuel some fairly intense and downright unsettling drama within Aronofsky’s latest. We’ll be able to find out what all the fuss is about when mother! creeps into theaters on September 15th.

Darren Aronofsky is perhaps most renowned for the depth of his serious musings, as demonstrated by his body of work as writer-director. Projects ranging from 1998’s Pi, to 2014’s Noah – by way of Requiem For A Dream, The Fountain, and Black Swan – all bear the hallmarks of an artistic mind reaching for the light in an all-encoming darkness. Such history is largely the reason for the intense anticipation that has now built around his feature film, Mother! Aronofsky, his cast, and the producers are purposefully keeping the plot of this horror-mystery-thriller tightly under wraps – with only the slightest of clues having been included in the trailers released so far. We know that Jennifer Lawrence plays the lead, and that Javier Bardem plays her husband. We know that Ed Harris and Michelle Pfeiffer show up at their door one night, and we know that things take terrifying turns from there. But that’s about it. For his part, Aronofsky has been discussing the film with Entertainment Weekly and now has confirmed that the marital relationship between the characters played by Lawrence and Bardem is indeed the crux of the issue.

“You can see the tension in their relationship as it’s pulled by all these forces. Jen and Javier are experiencing things in different ways.”

This in itself sounds exactly like a Darren Aronofsky movie, but when the writer-director explains the process that resulted in the script, we begin to see that Mother! is actually going to be something quite different.

“I was always jealous of singer-songwriters who can pop out a song in a couple of days or a few hours. I had this idea, and I felt it rise up in my head. I took a long weekend and got into this fever dream and just pumped it out. [Laughs] We’ll see what the results are. It’s been an interesting way to approach it — trying to capture a single emotion and trying to tell that two hour story out of that emotion.”

The filmmaker is known for taking extended periods of time to complete his screenplays, so for this one to have been “pumped out” over a weekend-long “fever dream” is intriguing, to say the least. Add to that the idea the fact that the Black Swan director has essentially tried to build a narrative plot around a single, intense emotion, and we have a potential cinematic masterpiece on our hands – albeit a terrifying and uncomfortable one. Mother! is released in cinemas on September 15th.

Similar to David Fincher and other astute directors operating in the wheelhouse of psychological thrillers, Darren Aronofsky is a filmmaker that tends to get under his audience’s skin. And that’s by no means a slight against the Black Swan helmer; rather, his films are often imbued with such haunting imagery and unforgettable, downright trippy stories that they have an innate ability to leave a lasting impression on their audience. Aronofsky’s latest effort, mother!, is poised to continue that streak in some style. Anchored by Jennifer Lawrence (Grace) and Javier Bardem (Eli), mother! tells the story of a lovestruck couple who find their home and, by effect, their relationship under threat from a pair of uninvited (?) guests: Michelle Pfeiffer and Westworld‘s Ed Harris. This unsettling dilemma is teed up rather beautifully in the film’s latest and indeed extended TV spot, in which Lawrence’s curious lead wanders freely around her picture-perfect home as the non-diegetic sound of harsh, whispering voices escalates to the point where the word “murderer!” echoes off the drab white walls. Creepy indeed. For a director who excels in dark, deeply unsettling material, Darren Aronofsky ought to feel right at home with mother!, while we understand plans are in place for a big Oscar push on the festival circuit (see: Venice and next month’s TIFF). After all, Black Swan scooped up five nominations back in 2010 – most notably for Best Picture and Best Director, while Natalie Portman deservedly claimed that iconic golden statuette for her performance as Nina – and given how Aronofsky believes the two films are similar “in spirit,” we’re intrigued to discover how mother! fares when it premieres at Venice. Also starring Harris, Pfeiffer, Domhnall Gleeson, Brian Gleeson, and Kristen Wiig, Darren Aronofsky’s long-brewing psychological thriller will hit theaters on September 15th.

Even by Darren Aronofsky’s own unique standards, mother!, the home invasion thriller starring Jennifer Lawrence and Javier Bardem, has been shrouded in secrecy ever since Aronofsky first put pen to paper. Granted, that radio silence was pierced by the film’s haunting first trailer, in which Lawrence’s Grace struggles to share a roof with two uninvited guests (read: Ed Harris and Michelle Pfeiffer). Things go from bad to worse, too, when our lead begins to uncover a smattering of dark, unsettling secrets linking her husband, Eli (Bardem), with Harris and Pfeiffer’s strangers. Part home invasion, part thriller, and all very Aronofsky, while speaking to Entertainment Weekly, the esteemed filmmaker drew comparisons between mother! and Black Swan, his Oscar-winning ballad of one ballerina’s descent into full-blown madness. Mind you, there’s no connective tissue between each thriller; rather, Darren Aronofsky is aware that they both exude a similar spirit.

It has home-invasion elements and is definitely a thriller. It is closer to Black Swan in spirit than anything I have done in a while. The best thing about this film will be the surprise of it. It’s an intense journey and it’s definitely the biggest roller coaster in the park. Only get on it if you really want to do the loop-the-loop.

Also starring Kristen Wiig and The Last Jedi‘s Domhnall Gleeson, Bardem is firmly of the belief that a little secrecy in film can go an awful long way, particularly in this age of information overload.

We all know every f—ing thing all the time. That’s good for some things and bad for others. We have to keep this mystery going if we can.

Having retreated from the crowded Halloween corridor, Darren Aronofsky’s mother! will now open opposite the likes of American Assassin and All I See Is You on September 15th. It’s understood Paramount is making a big festival push for Aronofsky’s latest, too, what with spots reserved at both Venice and Toronto to help generate some awards buzz. And with Lawrence, Bardem, and Aronofsky all involved, we’d be foolish to write off the film’s chances of Oscar glory.