Having narrowly survived his harrowing brush with mainstream Hollywood filmmaking, Darren Aronofsky is back in bonkers tortured-artist mode with this allegorical freak-out about poetry, celebrity, and the act of creation. More impressive than the density of metaphors running through this plainly Biblical yarn is the ferocity of Aronofsky’s execution. No matter what happens, he keeps the camera close to Jennifer Lawrence; for the bulk of the film, any shot she doesn’t actually appear in is a point-of-view shot. So we experience events as she does — her property trespassed upon, her authority disrespected, she remaining in good-wife mode longer than is healthy. And Aronofsky directs the hell out of the film’s third act, which unfolds with a disorienting kind of dream logic that belies the fundamental absurdity of events on screen. I don’t find the central metaphor(s) so compelling in itself, but I think the film works on an emotional level as long as it’s fundamentally Lawrence’s story. She is the dreamer, and this borderline surrealist frenzy is her nightmare, and it’s spooky and scary and richly suggestive and I’m completely on board. But then the film establishes its continuity with the Aronofsky Cinematic Universe, which is kind of a bummer. Once the creator presents his revelation — God’s love for humankind, eternal recurrence, etc. — it becomes clear it’s not really her story. It’s Aronofsky’s story. It’s always been Aronofsky’s story. And I just can’t relate.