I take to task the various reviewers that lambaste this film due to it's non-linearity and apparently confusing storyline. Aronofsky does not make films that are easy to watch, or easy to figure out the deeper themes of for that matter. The Fountain is purely an abstract hypothesis, or rather three, that are woven together in a glorious cinematic representation that is so beautiful to watch that the need for a defined narrative takes a bow in favour of the visual splendour. If you are so inclined, you can get the general idea of what the character motivations of Jackman and Weisz are in their triptych representations. When peeled back, it's actually not that complicated - love is an engine that if you let it, will drive you to do anything for whom you bestow it upon. This theme is interwoven through three time periods, all photographed by third time Aronofsky DOP collaborator Matthew Libatique. There are enough films out there to fulfill the mainstream's insatiable desire for easily digestible, instantly forgettable, high-carb, low substance genre fare. The Fountain, on the other hand, and other films such as Michel Gondry's The Science of Sleep, Spike Jonze's Being John Malkovich, and the entire catalogue of Peter Greenaway, fulfill a vastly different mandate. These film-makers are artists painting from a different cinematic palette, whose films may work better when played on a white wall in the contemporary wing of an art gallery. A setting such as this would most likely find an audience more in tune to the non-mainstream dynamics that films such as these represent. Not to say the average cinema go-er shouldn't try to expand their horizons every now and then, it's just that The Fountain wasn't made to be an average film for the average viewer, so people should keep that in mind when they view then review it.