Jennifer Lawrence gets into a bar fight in Budapest

Jennifer Lawrence gets into  a bar fight in Budapest

Don’t mess with actress Jennifer Lawrence, bruh! While she was in Budapest earlier this year to film ‘Red Sparrow’, the actress decided to unwind one night at a bar—and what was meant to be a low-key outing turned into something else entirely. “I got in a bar fight!” she announced on ‘Late Night Thursday’. “I got in a real bar fight!”

“That seems like a dangerous place to get into a bar fight,” host Seth Meyers joked. “I mean, for him,” Jennifer Lawrence replied. “Shout out to Dream Team—you know who you are.”

It was “beer night” at the bar, “and I was drunk, which is rare,” she joked. “This guy asked me for a selfie and I was like, ‘No. Thank you. No.’ He was like, ‘Please! My girlfriend will never believe me.’ My friend was like, ‘If your girlfriend won’t believe you then she’s not The One’.”

Lawrence and her friend told him to “just go away,” which set him off. “He goes, ‘Yes? F—k you!’ And I don’t know. Something in me just snapped—but it couldn’t have been the alcohol,” the 27-year-old actress joked. “I was like, ‘Did you just say f—k you to me? Did you just say f—k you to me?’ I grabbed him, I took beers and I started dousing him, all over him.” He “weirdly” had a suitcase, which he would later regret. “I was like, ‘Is that your s—t?’ I started pouring beers all over his suitcase. My friend Chris came up, grabbed me from behind and goes, ‘Don’t waste beer! Don’t waste beer!’ I instantly relaxed. I was like, ‘Of course! What was I thinking?’”

Meyers joked, “I certainly hope at some point one of that guy’s friends got a picture of that.”

Another one of Lawrence’s friends missed the entire fight. “My friend was in the bathroom,” she said. “He came back and was like, ‘Did you guys see that guy? He was all wet and crying!’” During her time in Budapest, Lawrence also visited a strip club as part of a friend’s birthday celebrations. After photos and videos were published online, she issued a statement via Facebook in May. “Look, nobody wants to be reminded that they tried to dance on a stripper pole by the Internet. It was one of my best friend’s birthdays and I dropped my paranoia guard for one second to have fun,” she wrote. “I’m not going to apologise, I had a blast that night.”

 

 

Published in Daily Times, September 24th 2017.

–>

Jennifer Lawrence and Darren Aronofsky screen Mother!

Their film collaboration Mother! has not been well-received by audiences or critics.

But on Thursday, Jennifer Lawrence, 27, and director boyfriend Darren Aronofsky, 48, gave the movie another push at a screening in New York City.

During the Q and A portion of the event on Thursday, Jennifer gave the middle finger on-stage – seemingly hitting back at critics.

Scroll down for video 

Honesty: Jennifer Lawrence gave the middle finger onstage while at a screening of Mother! with her director boyfriend Darren Aronofsky on Thursday in New York City

Honesty: Jennifer Lawrence gave the middle finger onstage while at a screening of Mother! with her director boyfriend Darren Aronofsky on Thursday in New York City

Honesty: Jennifer Lawrence gave the middle finger onstage while at a screening of Mother! with her director boyfriend Darren Aronofsky on Thursday in New York City

They were at New York City’s Museum Of Modern Art for a screening of the out-there flick. Jennifer stunned in a black maxi dress with a floral print throughout it.

She sported a cropped leather jacket on the way to the screening.

Her blonde locks were worn wavy as she signed autographs for fans who waited for her outside of the museum. 

Aronofsky kept things casual in a green button down and black pants. 

Fancy: Her blonde locks were worn wavy as she stunned in the low-cut frock

Fancy: Her blonde locks were worn wavy as she stunned in the low-cut frock

Fancy: Her blonde locks were worn wavy as she stunned in the low-cut frock

Golden guy: Jennifer  wowed in floral for the Mother! screening on Thursday in New York City,  hosted by The Academy of Motion Picture Arts & Sciences

Golden guy: Jennifer  wowed in floral for the Mother! screening on Thursday in New York City,  hosted by The Academy of Motion Picture Arts & Sciences

Golden guy: Jennifer wowed in floral for the Mother! screening on Thursday in New York City, hosted by The Academy of Motion Picture Arts & Sciences

The grim psychological thriller is causing audiences to leave in a daze, stunned by the ‘tasteless nightmare’ as one review dubbed it. 

Indeed, CinemaScore, which tracks audience reactions on opening night has given the movie a rare F and New York Observer critic Rex Reed tore into the film, calling it a complete disaster and gave it zero stars out of five.

Reed pulled no punches in his excoriating review, slamming the $30m art-house flick as nonsense. 

Giving it another push: Jennifer arrived to New York's Museum Of Modern Art separately from her director boyfriend Darren Aronofsky for a screening of their flop Mother!

Giving it another push: Jennifer arrived to New York's Museum Of Modern Art separately from her director boyfriend Darren Aronofsky for a screening of their flop Mother!

Giving it another push: Jennifer arrived to New York’s Museum Of Modern Art separately from her director boyfriend Darren Aronofsky for a screening of their flop Mother!

‘Nothing about Mother! makes one lick of sense as Darren Aronofsky’s corny vision of madness turns more hilarious than scary.

‘With so much crap around to clog the drain, I hesitate to label it the “Worst movie of the year,” when “Worst movie of the century” fits it even better.’

Despite earning a 69 percent approval rating on Rotten Tomatoes, the website warns the movie is a ‘singularly ambitious artistic vision’ and concludes it may be ‘too unwieldy for mainstream tastes.’ 

Strike a pose: The grim psychological thriller is causing audiences to leave in a daze, stunned by the 'tasteless nightmare' as one review dubbed it

Strike a pose: The grim psychological thriller is causing audiences to leave in a daze, stunned by the 'tasteless nightmare' as one review dubbed it

Strike a pose: The grim psychological thriller is causing audiences to leave in a daze, stunned by the ‘tasteless nightmare’ as one review dubbed it

Full support: The couple sat on stage and answered questions about the flick once inside

Full support: The couple sat on stage and answered questions about the flick once inside

Full support: The couple sat on stage and answered questions about the flick once inside

Happy: If Mother!'s bad reviews were getting to J-Law, she didn't show it during the cheery Q&A

Happy: If Mother!'s bad reviews were getting to J-Law, she didn't show it during the cheery Q&A

Happy: If Mother!'s bad reviews were getting to J-Law, she didn't show it during the cheery Q&A

Happy: If Mother!'s bad reviews were getting to J-Law, she didn't show it during the cheery Q&A

Happy: If Mother!’s bad reviews were getting to J-Law, she didn’t show it during the cheery Q&A

Richard Roeper, the prominent film critic of the Chicago Sun-Times said that despite Jennifer Lawrence’s performance, he questioned what Aronofsky was trying achieve and thought that he was mocking specific passages of the bible.

Kyle Smith of the National Review felt that these sequences went too far and called the movie ‘a biblically-infused version of torture porn’ and said that ‘it may be the most vile and contemptible motion picture ever released’. 

‘To experience the final half-hour is to understand what it must feel like to be a clump of broccoli in a Cuisinart,’ wrote Smith. 

During the screening, Darren addressed the F CinemaScore grade; he said via The Hollywood Reporter: ‘What’s interesting about that is, like, how if you walk out of this movie are you not going to give it an F? It’s a punch. It’s a total punch.’ 

Fan favorite: The 27-year-old Oscar winner happily signed autographs for fans waiting outside

Fan favorite: The 27-year-old Oscar winner happily signed autographs for fans waiting outside

Fan favorite: The 27-year-old Oscar winner happily signed autographs for fans waiting outside

Going hell for leather: Oscar winner Lawrence opted for an edgy cropped leather jacket for the hellish flick's screening

Going hell for leather: Oscar winner Lawrence opted for an edgy cropped leather jacket for the hellish flick's screening

Going hell for leather: Oscar winner Lawrence opted for an edgy cropped leather jacket for the hellish flick's screening

Going hell for leather: Oscar winner Lawrence opted for an edgy cropped leather jacket for the hellish flick's screening

Going hell for leather: Oscar winner Lawrence opted for an edgy cropped leather jacket for the hellish flick’s screening 

Darren continued: ‘I realize that we were excited by that. We wanted to make a punk movie and come at you.’

He said that the reason he ‘wanted to come is because I was very sad and I had a lot of anguish and I wanted to express that.’

Darren described film making as ‘such a hard journey. People are constantly saying no to you.’ 

He concluded: ‘And to wake up every morning and get out of bed and to face all those no’s, you have to be willing to really believe in something.’ 

Beaming: The star sported strappy black heels for her edgy ensemble 

Beaming: The star sported strappy black heels for her edgy ensemble 

Beaming: The star sported strappy black heels for her edgy ensemble 

Confusion: The film has a 69 percent approval rating on Rotten Tomatoes, the website warns the movie is a 'singularly ambitious artistic vision' and concludes it may be 'too unwieldy for mainstream tastes'

Confusion: The film has a 69 percent approval rating on Rotten Tomatoes, the website warns the movie is a 'singularly ambitious artistic vision' and concludes it may be 'too unwieldy for mainstream tastes'

Confusion: The film has a 69 percent approval rating on Rotten Tomatoes, the website warns the movie is a ‘singularly ambitious artistic vision’ and concludes it may be ‘too unwieldy for mainstream tastes’

 

 

 

 

 

 

 

 

Jennifer Lawrence Engaged — Already Has Wedding Dress Picked Out

Here comes the bride… all dressed in Dior! Jennifer Lawrence is excitedly planning her wedding to director and boyfriend Darren Aronofsky — and the Oscar-winning actress already has one detail finalized.

Sources reveal exclusively to Life & Style that when it comes to her wedding dress, Jennifer, 27, has the perfect style in mind. “She wants to wear a custom-made Dior wedding dress, similar to the gown she wore to the Academy Awards,” says a source. “Jen has joked to pals that she’ll be extra careful not to fall down the aisle.”

Jennifer Lawrence

Jennifer at the 2013 Oscars. (Photo Credit: Getty Images)

A designer gown would be perfect for the big day, especially since Jennifer and Darren, 48, are eying the rtizy Peninsula hotel in NYC for the “I do”s. However, guests, including Adele, Amy Schumer, and Bradley Cooper, can expect the reception to be just as laid-back as the Hunger Games star. “She wants her wedding party to be lots of fun, the source adds. “Champagne will be flowing throughout the evening, and she’s even planning to have a karaoke station where she’ll get to sing along to her favorite tunes with her pals.”

Jennifer made her first red carpet appearance with the famed director earlier this month, and she can’t stop gushing about her boyfriend of one year. “He told me his ideas and I thought they were brilliant and unique and challenging,” she said at the Toronto Film Festival of their film Mother!. “I’ve been a fan of his for years — I think he’s bold and brave, and I think I said brilliant.”

Jennifer Lawrence Darren Aronofsky Getty

(Photo Credit: Getty Images)

In another interview with Vogue she revealed she has never been more certain about a relationship in her life. “We had energy. I had energy for him. I don’t know how he felt about me,” she said. “I’ve been in relationships before where I am just confused. And I’m never confused with him.” Congrats to the happy couple!

More from Life & Style

Twitter Thinks Jennifer Lawrence Broke up Chris Pratt’s Marriage to Anna Faris and People Are Being Savage

Who’s Tripped at the Oscars? Relive Jennifer Lawrence’s Clumsy Falls!

Jennifer Lawrence, Margot Robbie and More Celebs You Didn’t Know Were Told to Lose Weight!

I’m Drinking with Jennifer Lawrence; Don’t Bring Up Politics!

In no particular order, here is my list of top three tangible items that should never be merged:

— $2 chicken wings and a Fitbit

— Octogenarians and Snapchat

— Alcohol and anyone wanting to discuss politics

The remainder of this column will focus on the latter, now that I have received an official invitation, via my Facebook feed, from Oscar-winning, and current Mother actress Jennifer Lawrence to join her in California and “hang out, drink wine, talk politics.”

Lawrence is lending her fame, and perhaps her knowledge of Riesling, to Omaze. The online fundraising platform seeks to raise money for causes it deems worthy by allowing ordinary citizens to donate as little as $10 and then possibly win, via a raffle, once-in-a-lifetime experiences that often come with celebrity hobnobbing. Other current campaigns include a chance to support After-School All-Stars while flying in a helicopter with Arnold Schwarzenegger, and hanging with the world’s top 100 DJs in Amsterdam, with all proceeds benefitting UNICEF.

Great times and great causes all, but I still can’t get past the idea of mixing wine and politics. The Lawrence event benefits Represent.us, which, according its website, brings together “conservatives, progressives, and everyone in between to pass powerful anti-corruption laws that stop political bribery, end secret money, and fix our broken elections.”

The first few words of that definition sound like my family’s Thanksgiving table last year. Unfortunately, the feast, which included plenty of wine, fixed nothing. Quite the contrary; longstanding relationships between relatives would have been irretrievably broken had I, as host, not shifted the conversation away from President Trump’s recent victory to, as I recall, gluten-free stuffing recipes.

Lawrence seems to think the event is a swell idea, judging from her promo video’s opening line: “Hey, you! You want to help stop political corruption in America? And drink a ton of wine?” It should be noted that Lawrence is holding a glass of the red variety and may have dusted a few goblets, or decanters, in between takes.

I do like the idea of hanging out with Lawrence, as she seems like one of those down-to-earth megastars who would happily buy the first round while posing for selfies with anybody who asked. Also, I’ve relished the numerous trips I’ve taken to wineries in Napa, Sonoma and Calistoga, always returning with a bottle (or three) of some delicious blend plus photos of spectacular scenery.

But count me out if my excursion is going to include a horde of progressives and conservatives, even those who claim to be working together. One need only watch a few minutes of C-SPAN to realize that is not currently possible.

I can picture it now: Lawrence and I would be standing side by side at some quaint wine bar, swirling, sniffing and discussing the latest merlot, when some arch-conservative, noticing my Chicago Cubs hat, would make a wine-addled crack about me hailing from Obama’s home state. The conversation would quickly deteriorate; I’d be shouting that the Affordable Care Act was the high point of Obama’s presidency while my antagonist, matching my decibel level, would insist Trump will solve all our nation’s problems, health care included, if the “fake media” would just leave him alone. He would then read me one of his favorite Rush Limbaugh tweets.

As I’d continue defending my former president and my geographical locale, Lawrence would silently move to another area of the bar, eliminating my plan to discuss her character in American Hustle and our affinity for chardonnay. Thanks to some moron, my Instagram feed would never contain a photo with the caption, “Sharing a glass of Darioush with Katniss Everdeen.” Instead, I’d be wishing this Omaze experience also included Schwarzenegger, simply so he could punch the guy in the face.

So, Omaze, I ask you to reconsider this campaign. Let Lawrence and the winner drink wine to benefit a malaria cure, Doctors Without Borders, even my kids’ college funds. If you want to bring conservatives and progressives together to discuss politics, it should be done in a slightly different setting:

Beneath the thump, thump, thump of 100 DJs.

#politics #comedy #celebrity #goodnews

Greg Schwem is a business humorist, motivational corporate comedian, corporate emcee, nationally syndicated humor columnist for Tribune Content Agency and creator of the web series, “A Comedian Walks Into an Airbnb.”

Jennifer Lawrence Has Turned Into A Political Barbie With A String

It’s sad to see a talented actress go downhill so fast, but that’s what happens in the intersection of Hollywood and politics—a big crash.

Case in point: Jennifer Lawrence. She once held America spellbound by her husky voice, sweet smile, unapologetic curves, and authenticity when dealing with the press. Her movies were compelling, and her performances sparkled. Lawrence was a refreshing respite from the fake, self-aggrandizing liberal lemmings of Hollywood.

Now, like so many other actors who aren’t satisfied with simply being artists and entertainers, Lawrence has become political. Her charm has turned crass, making one wonder if we’ve been seeing the real Jennifer Lawrence all this time.

It All Began With Kentucky

Lawrence’s Mr. Hyde side revealed itself to most Americans—who simply knew her as the beloved rebel Katniss in “Hunger Games”—when Lawrence criticized half of America during the Kentucky same-sex marriage controversy. County Clerk Kim Davis refused to issue licenses to same-sex couples because of her Christian beliefs regarding traditional marriage, and Lawrence flipped out.

“Don’t even say her name in this house,” she told Vogue. “All those people holding their crucifixes, which may as well be pitchforks, thinking they’re fighting the good fight. I grew up in Kentucky. I know how they are.”

During the presidential election, Lawrence lashed out again, dramatically saying, “If Donald Trump is president of the United States, it will be the end of the world.” The world, of course, hasn’t ended.

After Trump’s election, Lawrence wrote an op-ed, telling women to embrace their anger. “This country was founded on immigration and today the only people that feel safe, that their rights are recognized and respected are white men,” she wrote. “Do not let this defeat you—let this enrage you! Let it motivate you! Let this be the fire you didn’t have before. If you are an immigrant, if you are a person of color, if you are LGBTQ+, if you are a woman—don’t be afraid, be loud!”

In a particularly hypocritical moment, she said the country needs to move past its political division and anger, despite her own hostility toward Republicans, Christians, and the president. In an interview with Graham Norton, she said she had attended a concert where Trump was present. “I had my full security, I was like, ‘Find Donald Trump,’” she explained. “Because I was adamant on finding him and then making a video of me going, ‘Hey Trump, f*ck you!’”

Siccing Her Followers On Innocent Bystanders

After the Charlottesville violence, Lawrence asked her 16 million followers on social media to help her identify the neo-Nazi protestors in photographs. “These are the faces of hate. Look closely and post anyone you find. You can’t hide with the internet you pathetic cowards!”

Calling for public naming and shaming doesn’t always work out so well, though. A man named Kyle Quinn who works at the Engineering Research Center at the University of Arkansas doing wound-healing research was wrongly identified as having participated in the protest.

“Overnight, thousands of strangers across the country had been working together to share photographs of the men bearing Tiki torches on the University of Virginia campus,” The New York Times reported. “They wanted to name and shame them to their employers, friends and neighbors.

“A man at the rally had been photographed wearing an ‘Arkansas Engineering’ shirt, and the amateur investigators found a photo of Mr. Quinn that looked somewhat similar. They were both bearded and had similar builds.”

He was deluged by vulgar messages on social media. People demanded that he lose his job. He was threatened, accused of racism, and his address was published. Fearing for his life, he and his wife had to leave their house to stay with a friend.

“You have celebrities and hundreds of people doing no research online, not checking facts,” Quinn said. “I’ve dedicated my life to helping all people, trying to improve health care and train the next generation of scientists, and this is potentially throwing a wrench in that.”

Way to go, Jennifer.

A Political Barbie with a String in Her Back

Lawrence also revealed an inability to have inner dialogue before speaking when she seemed to blame Trump supporters for Hurricane Irma. In an interview where she moved from talking of Mother Nature’s wrath, to climate change and voting, to her “confusion” over Trump’s election, she generated confusion of her own. Some in the media accused her of linking Mother Nature’s wrath to voting for Trump, which forced her to make a statement, claiming that her comments were taken “grossly out of context.”

Maybe if she had focused on the hurricane and the people in Irma’s path instead of swerving into politics, she would have avoided the controversy. But that would have been the old, thoughtful Jennifer. Now we have a political Barbie doll with a string on her back, and when you pull it, you get liberal talking points.

If Lawrence is so concerned about political corruption, one has to ask where her fundraiser was when Hillary Clinton was secretary of State.

On the heels of the release of her new psycho movie “Mother!,” Lawrence has continued her political push by offering fans a chance to get drunk with her to fight political corruption.

“We’ll hang out, drink some wine, talk politics, drink wine, maybe we’ll call your ex, maybe we’ll call my ex,” she says in a promotional video.

If Lawrence is so concerned about political corruption, one has to ask where her “get drunk for dollars” fundraiser was when Hillary Clinton was secretary of State. Of course, we know the answer, which is why people are sick and tired of celebrities and their hypocrisy.

As for her latest film by her boyfriend, the “overrated” Darren Aronofsky, the Observer gives it a devastating 0 out of 4 stars.

“This delusional freak show is two hours of pretentious twaddle that tackles religion, paranoia, lust, rebellion, and a thirst for blood in a circus of grotesque debauchery to prove that being a woman requires emotional sacrifice and physical agony at the cost of everything else in life, including life itself,” Rex Reed writes. “Nothing about mother! makes one lick of sense as Darren Aronofsky’s corny vision of madness turns more hilarious than scary. With so much crap around to clog the drain, I hesitate to label it the ‘Worst movie of the year’ when ‘Worst movie of the century’ fits it even better.” Ouch.

It’s truly is a tragedy when America’s sweetheart turns into America’s nightmare.

Movie review: Jennifer Lawrence pushed to the limit in ‘mother!’ | Roanoke Times: Movies

It’s the houseguests from hell in writer-director Darren Aronofsky’s latest film, the bonkers “mother!” starring Jennifer Lawrence and Javier Bardem as a couple living in an isolated, rambling country house who have to contend with some rambunctious invaders.

Based off the trailer and poster, many have surmised that this is Aronofsky’s tribute to “Rosemary’s Baby,” and there are similarities: the waifish young blonde wife (Lawrence), the egotistical artist husband (Bardem), the overbearing older couple (Ed Harris and Michelle Pfeiffer), who make themselves at home despite the discomfort of the subservient, passive bride.

The films share character types and the theme of pregnancy and parenthood, but “mother!” is possessed of a raucous, wild energy that builds to a riotous crescendo, and the villain here is not Satan, but unchecked humanity itself. There’s more than enough evil to go around with the people who assemble in this home.

Cinematically, “mother!” is an expertly executed wild ride. Aronofsky keeps the audience focused completely on the subjective experience of Lawrence’s unnamed young wife, as unwanted guests invade her sanctuary, a huge, lonely Victorian mansion. The camera follows her as she walks throughout the house, grants us access to her point of view, moves uncomfortably close for nearly abstract close-ups of the dewy planes of Lawrence’s face. The overlapping sound design is note perfect. Footfalls take on the tenor of gunshots, voices signal danger, and always, she experiences an overwhelming ringing in her ears.

Lawrence is remarkably restrained throughout the first two-thirds of the film, as the perfect little wife too polite for her own good. She modulates her tone, and never gets mad enough at her rude intruders. When she finally, finally screams, “Get out of my house!” it’s a cathartic experience for her, and the audience.

The film does go completely off the rails at a point where you expect it to end, after all of its exhausting mayhem. But Aronofsky pushes it completely to the limit, drains every drop in the same way that his leading lady does. Lawrence’s press tour has detailed the physical challenges and injuries of this shoot, and Aronofsky holds nothing back. There are some sickeningly violent images that are deeply uncomfortable to watch and toe the line of decency.

Critics were provided with a director’s statement to be read before the film, elucidating what was on Aronofsky’s mind when he coughed up the screenplay for “mother!” over the course of five feverish days of writing. But the best way to see this film is knowing as little as possible. When we’re clued into Aronofsky’s thought process, it leads to a sense that his metaphor is a little too on-the-nose as we plunge into the absolutely insane climax of the film.

However, what makes “mother!” brilliant is that it is open enough to read and project your own experiences onto it, which makes it deeply personal and universal. More than any metaphor about the state of the world, “mother!” is a film about being in a relationship with a narcissist: someone who takes and takes and takes all of your love down to the very last drop without ever giving anything back. Any viewer can place their own experiences on top of this story, and ultimately, hopefully, honestly consider what it fully means to give, and to take.

Actually, Jennifer Lawrence Thinks Audiences Should Have Known a Bit More About Mother! Before Seeing It

Love it or hate it, one thing everyone can agree on is that Mother! very well may be the year’s most divisive film. Its “F” Cinema Score confirms pretty much that, which co-exists with its current 68% score on Rotten Tomatoes. Would that Cinema Score be different though if viewers had been equipped with more knowledge than the hilariously cryptic trailers before going into it? Jennifer Lawrence seems to think so. Even if the film’s director and intentionally mysterious marketing didn’t seem to agree.

According to the film’s co-star, no one should be going into the film without understanding the basis of it. “He wants people to go in blind,” she told The New York Times in a new profile on the film, referencing the director and her boyfriend Darren Aronofsky. “You’re going to miss all of the detail and all of the brilliance behind the whole movie. My advice is to understand the allegory.” As for what that allegory is — spoiler alert — there are a few different layers but the central one is that the house, where all of the action in the film unfolds, represents the planet, Lawrence is Mother Earth, and Javier Bardem is God. Without giving away too much, Jennifer Lawrence spends the whole movie trying to protect herself from humanity, who ravage the house among other things.

“You have the creation of people, you have the creation of religion itself, people reading the same writing and arguing over its meaning, false idols,” Lawrence explains of the religious references, which she didn’t have a hard time dissecting. “I was a Bible nerd — Bible study every Sunday.”

Even with understanding that allegory though, the film is no easier to watch — at least in this writer’s experience. Apparently, it was no easier to read as a screen play, as J. Law revealed that she had a hard time digesting it. “When I first read it,” she said, “I didn’t even want it in my house. I thought it was evil, almost… I’ve never felt so insecure. We wrapped the movie, and I’ve been sweating bullets ever since.”

But Lawrence feels passionately about the film’s takeaway. “What I’ve always loved about Darren is, he’s unapologetic and he’s bold,” she said, adding, “I agreed with the film’s message wholeheartedly. It’s an assault, and it needs to be.”

Though, it’s worth noting that Aronofsky thought if audiences knew too much about the film before seeing they might be preemptively freaked out.

Related: Why Mother! Was an “F” Cinema Score Perfect Storm

Jennifer Lawrence Reveals Her Cinematic Crush:

Jennifer Lawrence Explains What ‘mother!’ is Really About


The movie everyone can’t stop talking about is one Jennifer Lawrence knew from the very beginning would polarize people.

NIKO TAVERNISE/PARAMOUNT

Between its critical acclaim and F CinemaScore, “mother!” is the movie that just keeps on giving when it comes to dividing audiences. A movie hasn’t caused this kind of vigorous reaction and theorizing among moviegoers in quite some time, and to many of us that makes “mother!” one of the most essential releases of 2017. Darren Aronofsky recently sat down with IndieWire’s Anne Thompson to reveal as many secrets as he could about “mother!,” and Jennifer Lawrence has now done the same with Entertainment Weekly.

Read More:Paramount Defends ‘mother!’ Against Bad Box Office and ‘F’ CinemaScore: ‘This Movie is Brave’

The Oscar-winning actress didn’t exactly keep a lid on things while making the press rounds before the movie’s release (she couldn’t help but talk about the movie’s environmental themes), but now that “mother!” is out in the world Lawrence can break her silence on what she personally took away from Aronofsky’s script. More importantly, she thinks every viewer could benefit from knowing just a few things about the movie’s intentions before they actually see it.

“I got it immediately but that was because before he had sent me the script he had come to me and told me these ideas that he had for an allegory and the metaphors he wanted to work with. I was in,” Lawrence told EW. “It was the most unique sounding movie I’d ever heard, and incredibly brave. I feel like there’s different schools of thought on this movie. Some think: don’t tell anyone anything, let them figure it out on their own. I feel like it’s better to know and understand the metaphor and allegories because then you know what you are looking at. I’ve been spilling the themes and metaphors all over town!”

So what exactly are the metaphors every viewer needs to be aware of? As Lawrence explains:

The movie was called “Day Six” [on set]: it could be about the creation and the end of the universe. You have the creation of man and women and then the corruption of man and woman and then overpopulation and creation of religion and so on and so forth.

[Darren] is stripping out all nationality away from everyone — if something happens on the other side of the world, you don’t care. If it happens to your neighbor’s house, you care. If someone puts out a cigarette on your carpet, that matters to you. So what he’s saying is this is the entire world, This is our one earth. This is all our sink. So stop bouncing on it!

Heading into “mother!” with some of the thoughts Lawrence explains here will definitely ease the viewer into Aronofsky’s madness. The first half of the movie is especially subtle with all its references, so it actually might help people to listen to Lawrence for a little pre-screening guidance. But we still think going in cold and letting the experience hit you like a shock to the gut is best. “mother!” is now playing in theaters nationwide.

Sign Up:Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

Jennifer Lawrence Needs a Hit, Especally After the Awful Mother!

It's been a while since Jennifer Lawrence delivered a hit that didn't come via The Hunger Games or X-Men franchises.

It’s been a while since Jennifer Lawrence delivered a hit that didn’t come via The Hunger Games or X-Men franchises.

Photo by Murray Close

Jennifer Lawrence starred in a movie that opened this past weekend. If you didn’t know this, you’re not alone – the film (mother!) was a certifiable box-office flop. Those who did see it apparently hated it.

As trainwrecks go, mother! had it all. A pair of talented, well-respected stars in Lawrence and Javier Bardem. One of the best directors in the game today (Darren Aronofsky). A trailer that portrayed the film as something; a film that portrayed itself as something else altogether. A (spoiler alert!) bait-and-switch ending that plays as religious allegory, not the horror thriller some expected. Critical confusion. Audience revolt. The list goes on.

The less said about mother!, the better. But this mess of a film gives us a chance to talk about Jennifer Lawrence, an actress who had a mess of a weekend herself and an actress who really needs a hit. It’s time to ask the question – is Jennifer Lawrence capable of opening a movie?

Now, this is not to question whether Lawrence can carry a movie with her name atop the marquee. If anything, she’s displayed a unique ability to lift mediocre material to something superior. She was great in Joy, even if the material let her down. She was damn good in Passengers, a film whose botched marketing campaign sunk it before the film ever hit theaters, and should consider reteaming with Chris Pratt onscreen at some point). Hell, she’s even good in mother!, which will not be an awards-show contender come early next year, mostly because it is not a very good movie.

However, whether Lawrence can open a movie financially is a fair question. And, no, boffo box office for X-Men and Hunger Games installments don’t count, as those are pre-established properties that essentially sell themselves. In fact, Lawrence hasn’t anchored a non-franchise hit since 2013, when American Hustle raked in more than $250 million worldwide. Since then, non-franchise box office totals include just a shade over $100 million for Joy, a good but not great total, particularly for a Christmas-season awards contender. Passengers did earn more than $100 million domestically, but was still viewed as a relative disappointment. Now there’s the outright disappointment of mother!, which opened with a paltry $7.5 million over the weekend.

None of this is to disparage Jennifer Lawrence the actress, who easily ranks among the most charming, talented, charismatic figures in Hollywood today. And her penchant for oversharing and storytelling humanizes her to an extent, inasmuch as a rich, famous, attractive person can be humanized. Hell, her relative inability to open a movie is not altogether on her either.

Simply put, we live in a cinematic age where franchises sell themselves and by extension, movie stars have been marginalized by design. After all, if you’re a studio looking to start a franchise, why invest in some expensive, high-profile star when it’s far cheaper and easier to kickstart a franchise and let it create the stars. Remember, Vin Diesel wasn’t much of a name when the Fast & Furious franchise began, and the billion-dollar Avengers franchise essentially started on the back of Robert Downey, Jr., now Hollywood royalty but who at the time of the first Iron Man film was far from a sure thing.

There was a time when placing a name such as Tom Hanks, Julia Roberts, Jim Carrey, Will Smith, or Adam Sandler atop the movie poster was pretty much a guarantee to open big and rake in profits. Those days are long gone. Even big-name stars like George Clooney and Brad Pitt are more famous for their charitable endeavors and personal lives than their movies of late.

But Jennifer Lawrence seemed different. She came off humble and personable enough to be relatable, and yet possessed enough star wattage to stand out onscreen. That’s how she rose to prominence in the first place, playing flawed characters in standout films like Winter’s Bone and The Silver Linings Playbook. She rode that wave into both the X-Men and Hunger Games franchises, choices that proved wise in that she was able to keep her name in the papers while her agents selected her next non-franchise project. For a while, this formula proved quite successful. Cracks, however, began to form.

Her outspoken persona – once Lawrence’s biggest asset – eventually turned some fans off. The movies got a little bit worse. The box office totals sagged a bit, but nothing near the catastrophe that was mother!.

Fortunately, Lawrence has plenty of time to re-establish herself as the biggest actress in the game today. The upcoming spy thriller, Red Sparrow, looks promising and gives her another go at anchoring a non-franchise flick. And even if that flops, another X-Men film, due next year, will no doubt do big business.

From there, Lawrence should go one of two routes to recapture the magic that made her a star in the first place. She might consider serving as part of an ensemble, which is essentially what she did in some of her best roles, namely American Hustle and The Silver Linings Playbook. But her first stop should be a genre Lawrence has never really visited – the romantic comedy. This genre has a built-in fanbase, which will allow Lawrence to flex her comedic muscles while allowing her charm and charisma to shine through.

In short, it’s time for Lawrence the actress to take a hint from Lawrence the person – lighten up a bit. No need to be quite so serious all the time. Allow her natual personality to show itself on the screen, rather than obscured behind the dark, artsy tone mother! aspired to but came nowhere close to reaching. And if Lawrence opts to stay the serious route in chasing awards and critical adoration, her place among the Hollywood elite is firmly entrenched either way. She’s more than capable of opening a film; it’s simply time for her to choose one worthy of her talents.

Mother! Review – Jennifer Lawrence’s New Movie Is Endless

***WARNING: This review contains spoilers for mother!***

By the time a violent mob of poetry fans kills and eats Jennifer Lawrence’s infant son toward the end of mother!, the film has already assaulted your senses and tested your patience so thoroughly that you’ll just think to yourself: well, sure. I went into Darren Aronofsky’s mother! completely blind, and I emerged two hours later nearly deaf. Let me try to explain what I have just seen:

Advertisement – Continue Reading Below

Jennifer Lawrence and Javier Bardem are a married couple who live in a giant house in a clearing in the woods, to which there are no roads. He is a poet and she is fixing up the house, and they have no names, so they are Obvious Allegories for Creation or Whatever. She sits in his study and watches him try to write, they never have sex, the relationship just works. Ed Harris shows up somehow, and barfs, and there is an open sore where one of his ribs would be, and then there’s Michelle Pfeiffer.

Ed and Michelle go snooping all over the house, into places where they are not allowed, and you’re like: I get it, bring on Cain and Abel already, at which time Domhnall Gleeson shows up with his real-life brother Brian, whom he immediately kills. (The fact that “Domhnall” auto-corrects to “downhill” has never been more apt. Please watch his work in Season Three of Catastrophe and Brian’s The Bachelor Weekend.) Ed and Michelle are overcome with grief, so obviously the memorial service for the dead son has to take place at The House, which the mourners have sex all over, and eventually destroy.

Oh, also, sometimes the floors of The House bleed, and at various times, Jennifer Lawrence touches the walls and feels The House’s heart beat. For the rest of the time, she just kind of moves slowly through the hallways and the basement and gets startled by things. It’s a bit like Jodie Foster in the prison scenes of The Silence of the Lambs, but much less whimsical.

Paramount

Advertisement – Continue Reading Below

So the family’s grieving and the mourners’ destruction of The House finally inspires Javier Bardem to start writing, and The Greatest Poem of All Time comes right out of him. Also, he and Jennifer finally have sex, and she gets pregnant and knows it right away. We flash forward nine months to when Jennifer is making Javier a special dinner to celebrate the fact that The Poem has “sold all the copies in the first day,” which is a normal thing that frequently happens.

This is where things start to get weird.

Fans then show up at the door, because they have been moved by The Poem, and they all want a piece of him. And then more come, and then more, and then they start actually tearing up The House for souvenirs. And then they start fighting one another in a very, very long sequence which suggests the first 20 minutes of Saving Private Ryan filtered through the Matrix sequels, and which includes Kristen Wiig murdering people execution-style. Have you ever wanted to see a movie that makes you wonder whether you’ve actually died, and whether what you’re watching is your eternal punishment for a lifetime of sin? Then do as I have done, and go see mother! with a moderately-intense Prosecco hangover.

Advertisement – Continue Reading Below

Anyway, Jennifer has the baby, and she won’t let Javier touch him, because she’s afraid he’ll show him to the thousands of people who have transformed their home into the site of a violent sex rave, which is actually pretty sensible of her. But she eventually falls asleep for a moment, and he swipes the baby and brings him out to the crowd, and the crowd says: “Yum.” Now, Jennifer has been more than patient up to this point, but thousands of strangers eating her newborn son is just a bridge too far. She loses her temper and begins to stab The Poet’s fans, but she is outnumbered and they beat her up for a long time.

Paramount

Then she sets the house on fire and everyone dies except for her—though she is crispy— and Javier, who is completely unharmed. They say a bunch of abstract lines about love and beginnings and he reaches into her chest cavity and pulls her heart out and squeezes it very hard and turns it into a diamond that he places in a stand and all the home damage is reversed and we are back to the first frames of the movie and the whole process begins again, but with a new woman in Jennifer Lawrence’s role. And then the lights come up and, at least in my case, the audience roars with laughter.

Advertisement – Continue Reading Below

So, yes, it’s a Biblical allegory. But you know what? So is The Apple, and at least with that film you get songs and dances. Mother! is bleak, ponderous, loud, and endless. Major themes are suggested and hinted at, but when it’s time for Jennifer Lawrence to get kicked in the head, shit suddenly gets mad literal. It is a college sophomore who has just returned from Burning Man telling you about a dream he had. It has left me angry at poetry and home renovation, which I will admit is not a particularly difficult thing to do. It is the harshest and most aggressively unpleasant experience I have had in a movie theater, possibly ever, and I sat through The Emoji Movie.

Still, good to see Michelle Pfeiffer back out there. B-minus, I guess.

Ouch: Jennifer Lawrence’s ‘mother!’ Got an F CinemaScore

This image released by Paramount Pictures shows Jennifer Lawrence in a scene from The new horror-thriller “mother!” — starring Oscar winner Jennifer Lawrence — earned itself a relatively rare F CinemaScore, once again highlighting the disconnect between film critics and film goers.

“Mother!” was directed by Darren Aronofsky, who is no stranger to polarizing films, especially “Requiem for a Dream.” His new film has a Metascore of 74, which is good, and a Rotten Tomatoes rating of 69 percent fresh. It also has a 6.8/10 rating from IMDb users. However, “mother!” only has a RT Audience Score of 42 percent, and now a bargain-basement F CinemaScore.

That F currently standalone, next to the B+ for both “American Assassin” and “IT”; A for “Spider-Man: Homecoming” and “Leap”; A- for “Dunkirk,” “Detroit, “Despicable Me 3,” and “Baby Driver”; and B for “Atomic Blonde,” “The Dark Tower,” and “Annabelle: Creation.” Even “Valerian and the City of a Thousand Planets” got a B- CinemaScore.

Previous films earning an F include “Bug,” “Solaris,” The Box,” Dr. T and the Women,” “Silent House,” “Disaster Movie,” “Wolf Creek,” and “The Devil Inside.” As The Hollywood Reporter noted, films with F grades usually don’t overcome the bad word of mouth to make more than $15 million at the domestic box office, but “The Devil Inside” was the exception. That film opened to $33.7 million and earned $53.3 million domestically, and $101.8 million globally.

“Mother!” had the worst wide launch of Jennifer Lawrence’s career, earning around $7.5 million from 2,368 locations. But the extreme reactions to the film — and this F rating, which in some circles is a badge of honor — may make more fans curious to check it out.

Paul Dergarabedian of comScore, which conducts exit polling, talked to THR about the critics vs. fans reaction to “mother!”:

“This is an interesting case of what appears to be a total disconnect between the critics, who have been fairly receptive, and audiences who are collectively giving mother! their unanimous seal of disapproval with some of the lowest audience scores seen for a wide release film. The trailer paints a very strange and purposely equivocal portrait of the film and audiences who may have been expecting one type of movie-going experience got something quite different and have chosen to scold the film with a stunningly low approval rating.”

In terms of box office, “mother!” might pick up more overseas. It currently has a foreign intake of $6 million, from six markets, in addition to the $7.5M domestic gross so far. The film reportedly cost about $30 million to make.

Want more stuff like this? Like us on Facebook.

mother! Movie Poster

New Jennifer Lawrence Movie Flops As Stephen King’s It Stays Strong

The new Stephen King movie It continues to stand tall at the box office. The horror film made $60 million at the US box office this weekend, holding its place as the No. 1 film, according to box office estimates posted by Entertainment Weekly. While It had another strong show, the same cannot be said for Requiem for a Dream and Black Swan director Darren Aronofsky’s new movie, mother!, which flopped with just $7.5 million over the three-day period.

It‘s box office haul dropped only 51 percent compared to its debut last week. Its total US haul now stands at $218.7 million after only 10 days. With that much money, the film is the biggest-ever September release domestically, easily surpassing the $174.8 million that Crocodile Dundee made in 1984. With a further $60.3 million from international markets, It has now made around $371.3 million. So yeah, the planned sequel seems like it will surely happen.

As for mother!, projections had it making a modest $11 million, but it couldn’t reach that figure, landing at the previously mentioned $7.5 million to land in third place. The film has a big-name director (Aronofsky) and a star-studded cast that includes Jennifer Lawrence, Javier Bardem, Ed Harris, and Michelle Pfeiffer. For Lawrence, mother! is the worst opening-weekend for a nationwide release ever in her career. Her previous worst was The House at the End of the Street, which made $12.3 million during its opening weekend in 2012.

The No. 2 movie this weekend was the action flick American Assassin, which pulled in $14.8 million. As EW explains, that’s in the area of what the first John Wick movie made when it was released. That film got a sequel and a third entry is on the way, so American Assassin could be another franchise. Notable about the film is that it’s star Dylan O’Brien’s first movie appearance following the serious injury he sustained while shooting the newest Maze Runner movie.

You can see the full Top 10 list below, as rounded up and compiled by EW.

  1. It — $60 million
  2. American Assassin — $14.8 million
  3. mother! — $7.5 million
  4. Home Again — $5.3 million
  5. The Hitman’s Bodyguard — $3.6 million
  6. Annabelle: Creation — $2.6 million
  7. Wind River — $2.5 million
  8. Leap! — $2.1 million
  9. Spider-Man: Homecoming — $1.9 million
  10. Logan Lucky — $1.3 million

Weekend Box Office: ‘It’ Devours Jennifer Lawrence’s ‘mother!’ With $60M

‘American Assassin’ also beats ‘mother!,’ an elevated horror film earning an F CinemaScore and marking the worst wide opening of Jennifer Lawrence’s career with $7.5 million

Darren Aronofsky’s mother! stalled in its domestic box office debut, grossing an estimated $7.5 million from 2,368 theaters after receiving a rare F CinemaScore and facing competition from blockbuster It.

mother!, an elevated psychological horror-thriller, supplants The House at the End of the Street ($12.3 million) to mark the  lowest nationwide launch of Jennifer Lawrence’s career. The Paramount title, costing $30 million to produce, came in No. 3 for the weekend behind It and new offering American Assassin. (In a sign that summer is over, all three titles are rated R.)

Warner Bros. and New Line’s It continued to make history in its second weekend, declining a scant 51 percent to $60 million from 4,103 theaters, the biggest sophomore outing ever for a horror title. It is the latest commercial horror title to prosper following Annabelle: Creation, Get Out and Spit in a huge boost for the genre.

It has already achieved numerous milestones. In its first 10 days, the film adaptation of Stephen King’s novel has earned $218.7 million domestically, passing up Get Out ($175.5 million) to become the No. 2 R-rated horror film of all time behind The Exorcist, not accounting for inflation. And it’s already the top-grossing September release in history. At this pace, It will finish its North American run with north of $300 million.

It is also scaring up big numbers overseas, grossing $60.3 million in its second weekend from 56 markets for a foreign tally of $152.6 million and a stunning $371.3 million worldwide against a $35 million budget. Highlights included a record-breaking horror opening of $13.8 million in Mexico.

In North America, It is a needed balm after a troubling summer box-office season. Thanks to the film’s performance, the year-over-year revenue decline has narrowed from nearly 7 percent to 5 percent.

CBS Films and Lionsgate’s American Assassin placed No. 2 with a solid $14.8 million from 3,154 theaters, on par with fellow Lionsgate action pic, John Wick ($14.4 million). The movie cost a net $33 million to make.

Directed by Michael Cuesta, American Assassin stars Dylan O’Brien as a CIA operative who teams with a veteran agent (Michael Keaton) to stop terrorists from starting a world war. The film, also featuring Sanaa Lathan, Shiva Negar and Taylor Kitsch, is based on late author Vince Flynn’s novel of the same name and earned a B+ CinemaScore from audiences.

Heading into the weekend, American Assassin held only a slight edge over mother! according to tracking. But throughout the weekend, mother! continued to slip.

Getting slapped with an F CinemaScore on Friday didn’t help matters (only a dozen or so movies have ever received the failing grade). The movie skewed older, with 52 percent of the audience over 35, including 22 percent over the age of 50. Comps to Aronfosky’s previous prestige films, including Black Swan, are tough since they launched in select theaters before expanding, prompting some to question why Paramount opened mother! nationwide.

From a script by Aronofsky, mother! is an allegorical tale about a married couple named mother (Lawrence) and Him (Bardem) whose tranquil existence is tested when two mysterious strangers  —  man (Ed Harris) and woman (Michelle Pfeiffer) — show up at their country Victorian home to meet Bardem’s character, a poet gripped by writer’s block.

“This movie is very audacious and brave. You are talking about a director at the top of his game, and an actress at the top her game. They made a movie that was intended to be bold. Everyone wants original filmmaking, and everyone celebrates Netflix when they tell a story no one else wants to tell. This is our version,” says Paramount worldwide president of marketing and distribution Megan Colligan. “We don’t want all movies to be safe. And it’s okay if some people don’t like it.”

mother! opened to $6 million overseas from its first 16 markets. It placed third in France with $1.3 million, followed by a third-place finish in the U.K. with $1.1 million and a second-place finish in Russia with $1.1 million.

The $30 million film made its world premiere earlier this month at the Venice Film Festival before screening at the Toronto International Film Festival to generally good reviews, with a current fresh score of 68 percent on Rotten Tomatoes. Critics, however, were divided in their reaction, and audiences, even more so.

Home Again, a romantic comedy starring Reese Witherspoon from first-time director Hallie Meyers-Shyer, placed No. 4 with an estimated $5.3 million for a muted 10-day domestic total of $17.1 million for Open Road Films. The movie declined a narrow 38 percent.

Lionsgate’s Hitman’s Bodyguard, rounding out the top five with an estimated $3.6 million, jumped the $70 million mark in its fifth weekend. The action comedy stars Ryan Reynolds and Samuel L. Jackson.

At the specialty box office, filmmaker Mike White’s Brad’s Status, starring Ben Stiller, Michael Sheen, Jenna Fischer, Luke Wilson and Austin Abrams, scored the top location average of any film when earning $100,000 from four theaters in New York and Los Angeles for an average of $25,000. The Amazon Studios’ dramedy is the second release from Megan Ellison’s Annapurna Pictures, and made its premiere at the Toronto Film Festival. The story follows a an anxious father who takes his son on a tour of New England colleges.

Overseas, Fox’s War for the Planet of the Apes made headlines in China, where it opened to a strong $62.3 million despite competition from Spider-Man Homecoming. War for the Planet of the Apes came in 42 percent ahead of the last film and 20 percent ahead of Logan. The threequel’s foreign total is $287.9 million for a worldwide cume of $433.7 million.

Spider-Man: Homecoming, from Sony and Marvel Studios, tumbled 79 percent in China to $14.7 million for a 10-day cume of $105 million in the Middle Kingdom and worldwide haul of $861.3 million (such declines can be commonplace in China).

Universal’s American Made, starring Tom Cruise, continued its foreign rollout ahead of its Sept. 29 domestic launch, earning another $12 million from 53 territories for a total $48.8 million, including a $1.9 debut in South Korea and $1.8 million from France.

Jennifer Lawrence’s new chiller Mother! gets rare F grade

Jennifer Lawrence’s new movie Mother! has left critics bemused and baffled, with one labeling it the ‘worst movie of the century’.

Directed by her partner Darren Aronofsky, the grim psychological thriller is causing audiences to leave in a daze, stunned by the ‘tasteless nightmare’ as one review dubbed it.

Indeed, CinemaScore, which tracks audience reactions on opening night has given the movie a rare F and New York Observer critic Rex Reed tore into the film, calling it a complete disaster and gave it zero stars out of five.

Scroll down for video 

That's a shocker: Hollywood darling  Jennifer Lawrence¿s chiller Mother! opened in theaters on Thursday earning a rare F grade from audiences, according to CinemaScore on Friday

That's a shocker: Hollywood darling  Jennifer Lawrence¿s chiller Mother! opened in theaters on Thursday earning a rare F grade from audiences, according to CinemaScore on Friday

That’s a shocker: Hollywood darling  Jennifer Lawrence‘s chiller Mother! opened in theaters on Thursday earning a rare F grade from audiences, according to CinemaScore on Friday

Reed pulled no punches in his excoriating review, slamming the $30m art-house flick as nonsense.

‘Nothing about Mother! makes one lick of sense as Darren Aronofsky’s corny vision of madness turns more hilarious than scary.

‘With so much crap around to clog the drain, I hesitate to label it the ‘Worst movie of the year’, when ‘Worst movie of the century’ fits it even better.

The critic, who has previously been unimpressed with Aronofsky’s work, wrote: ‘Nothing he’s done before to poison the ozone layer prepared me for Mother!, an exercise in torture and hysteria so over the top that I didn’t know whether to scream or laugh out loud.

‘Stealing ideas from [Roman] Polanski, [Federico] Fellini and [Stanley] Kubrick, he’s jerrybuilt an absurd Freudian nightmare that is more wet dream than bad dream, with the subtlety of a chainsaw.’

Despite earning a 69 percent approval rating on Rotten Tomatoes, the website warns the movie is a ‘singularly ambitious artistic vision’ and concludes it may be ‘too unwieldy for mainstream tastes’.

Richard Roeper, the prominent film critic of the Chicago Sun-Times said that despite Jennifer Lawrence’s performance, he questioned what Aronofsky was trying achieve and thought that he was mocking specific passages of the bible.

Kyle Smith of the National Review felt that these sequences went too far and called the movie ‘a biblically-infused version of torture porn’ and said that ‘it may be the most vile and contemptible motion picture ever released’. 

‘To experience the final half-hour is to understand what it must feel like to be a clump of broccoli in a Cuisinart,’ wrote Smith. 

However, Ann Hornaday of the Washington Post felt that the film was nuanced and compared Jennifer Lawrence’s acting to that of Mia Farrow in Rosemary’s Baby.

The Daily Mail’s Brian Viner wrote on a one-out-of-five-stars review: ‘Cinematic Marmite! That was the verdict on Mother! following its premiere at the Venice Film Festival earlier this month. 

As in the case of the sticky brown yeast extract popular in Britain, we were told, film-goers would either love it or hate it.’

The Marmite hater added: ‘I would rather eat a vat of the stuff than sit through Darren Aronofsky’s wildly pretentious slab of self-indulgence again.’

Gorgeous in a white gown: Jennifer, 27, and her director beau Darren Aronofsky, 48,  at the New York premiere of Mother! on Wednesday

Gorgeous in a white gown: Jennifer, 27, and her director beau Darren Aronofsky, 48,  at the New York premiere of Mother! on Wednesday

Gorgeous in a white gown: Jennifer, 27, and her director beau Darren Aronofsky, 48,  at the New York premiere of Mother! on Wednesday

There aren’t many movies that have received an F grade from CinemaScore, according to the website.

They include Brad Pitt‘s Killing Them Softly in 2012, Cameron Diaz‘s The Box in 2009, Lindsay Lohan‘s I Know Who Killed Me in 2007, George Clooney‘s Solaris in 2002 and Richard Gere‘s Dr. T And The Women in 2000.

It suggested that one reason the movie might have received the low rating is something that Jennifer pointed out during her Late Night With Seth Meyers interview on Thursday: The movie isn’t exactly a horror even though it’s billed as one.

For one thing, the characters don’t have names as such. The 27-year-old plays Mother opposite Javier Bardem as Him, Ed Harris as Man and Michelle Pfeiffer as Woman.

And what seems like a home invasion horror turns out to be something much deeper. 

Bottoms up: The star and Late Night host Seth Meyers enjoyed a glass of red wine as she explained that her movie isn¿t exactly a horror even though it¿s billed as one

Bottoms up: The star and Late Night host Seth Meyers enjoyed a glass of red wine as she explained that her movie isn¿t exactly a horror even though it¿s billed as one

Bottoms up: The star and Late Night host Seth Meyers enjoyed a glass of red wine as she explained that her movie isn’t exactly a horror even though it’s billed as one

The film is also reportedly very violent and disturbing, so it’s likely that some people can’t handle the subject matter although teen fanboys might be drawn to it for that reason.

With the weekend box office results still in play, it’s too soon to tell whether audiences will desert Hollywood favorite Jennifer or whether the challenging story will intrigue them.

A best actress Oscar winner for 2013’s Silver Linings Playbook, Jennifer’s films have grossed over $5.5 billion worldwide, according to Box Office Mojo.

She was named Hollywood’s highest-paid actress in 2015 and 2016 by Forbes.

Doing the rounds: The challenging movie played at the Venice Film Festival in September, among others. Pictured, Darren, Michelle Pfeiffer, Jennifer and Javier Bardem

Doing the rounds: The challenging movie played at the Venice Film Festival in September, among others. Pictured, Darren, Michelle Pfeiffer, Jennifer and Javier Bardem

Doing the rounds: The challenging movie played at the Venice Film Festival in September, among others. Pictured, Darren, Michelle Pfeiffer, Jennifer and Javier Bardem