The Fountain Reviews

  • I'm perfectly content to float with [Aronofsky] even if he doesn't solve the riddles of the universe.

    Lisa Schwarzbaum — Entertainment Weekly

  • In his third feature, Darren Aronofsky tries to replace the prose of narrative cinema with a poetic language of rhyming images and visual metaphors.

    A.O. Scott — New York Times

  • There is a strange deadness in the film, together with a callow self-importance and self-pity which become more stultifying with every minute that passes.

    Peter Bradshaw — Guardian [UK]

  • Though his movie is visually inventive, writer/director Darren Aronofsky has fashioned a ponderous, overblown, genre-bending mess.

    Claudia Puig — USA Today

  • It's a sprawling experiment in philosophical time travel and metaphysical noodling. And it's an earnest, magnificent wreck.

    Ann Hornaday — Washington Post

  • If there were more Darren Aronofskys, the multiplex would be a stranger and better place. Flaws and all, The Fountain believes in itself more fervently than any other movie you may see this year -- so fervently it doesn't need an audience's faith.

    Ty Burr — Boston Globe

  • The premise is lachrymose, the sets are clammy, and the metaphysics all wet. The screen is awash in spiraling nebulae and misty points of light, with the soundtrack supplying appropriately moist oohs and aahs.

    J. Hoberman — Village Voice

  • It's often maddening, because of its structure, and some of its visuals are pretentious nonsense. But, as a story of undying love, it's certainly unique.

    Jack Mathews — New York Daily News

  • A tagline has been affixed to the campaign -- 'What if you could live forever?' -- and it has a certain resonance, especially after seeing the film, which makes 96 minutes seem like eternity.

    Joe Morgenstern — Wall Street Journal

  • Exquisitely beautiful and almost unbearably sad... The Fountain is cinema as poetry; romance as revelation; science fiction as prayer.

    Amy Biancolli — Houston Chronicle

  • The Fountain is either innovative science fiction or overwrought melodrama; I can't quite pinpoint which. I realize I'm charged with reaching an opinion here, but it's not easy.

    Michael Booth — Denver Post

  • I think I finally understand what George H.W. Bush meant by 'a thousand points of light.'

    David Edelstein — New York Magazine

  • The movie may have significant truths to impart, although I have my doubts, but it feels too inexperienced, too unworldly, to have earned the right to them.

    Anthony Lane — New Yorker

  • I will concede the film is not a great success. Too many screens of blinding lights. Too many transitions for their own sake. Abrupt changes of tone.

    Roger Ebert — Chicago Sun-Times

  • It's an incredibly ambitious film of sometimes thrilling visual achievement, but it didn't connect fully to my mind and nerves.

    Michael Wilmington — Chicago Tribune

  • A pretentious, unfocused, and fussy mess, in which director Darren Aronofsky manages to make Hugh Jackman unattractive and unsympathetic.

    Meredith Brody — Chicago Reader

  • It's a spiritual journey about the timelessness of true love. And it's a journey better not taken.

    Steven Rea — Philadelphia Inquirer

  • With its whispered dialogue and funereal tone, The Fountain takes itself far too seriously. No one else will.

    Colin Covert — Minneapolis Star Tribune

  • The Fountain is the most ambitious, rich, romantic and ridiculous film of the year, a movie that's both awe and giggle inspiring.

    Tom Long — Detroit News

  • Even without all the bells and whistles, it still boils down to one love story worth seeing.

    Kathy Cano Murillo — Arizona Republic

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