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Black Swan Reviews
The best picture of 2010, Darren Aronofsky’s Black Swan is a messy masterpiece.
Natalie Portman and Darren Aronofsky are collaborating at the top of their game for this terrifying, gorgeous, and bewildering descent into madness.
Doubles, mirror images and unnerving doppelgängers dot this tale of a repressed, rigid ballerina (Natalie Portman), whose artistic director pushes her to lose herself in her art during a production of Tchaikovsky’s Swan Lake. Instead, she loses her head.
Darren Aronofsky's beautiful, haunting tale of obsession takes a look at the lengths some will go to achieve perfection. What luck that Portman has achieved just that in her performance.
“Black Swan” stands as proof that films have been elevating horror to the level of art for decades, and when they get it right, the results are exhilarating.
Throughout, we can spot thematic threads from Aronofsky's body of emotionally raw, character-based studies of obsession and tragedy.
The film's slow-boiling pull on you, the audience, builds more and more with a pace and tension that matches the maddening breakdowns of its lead character.
Its psychological dialectic is as terrifying as it is paranoid with Portman's formidable performance. [Full review in Spanish]
Black Swan warrants a profound response both from its stark melodramatic turns and from the sheer authority behind its artistic ambitions.
Aronofsky [is] a master filmmaker...
A high-pitched affair that sometimes risks silliness and sometimes achieves it. The risk is important — the movie is nothing if not impassioned — but overall the film is too rigidly schematic to be truly wild.
Natalie Portman, with almost supernatural fragility often saves this hyper melodrama. [Full review in Spanish]
'Red Shoes' meets 'Repulsion' in Darren Aronofsky’s... jittery psychological portrait of neurosis and obsession in a meek, repressed young woman who still has little girl prima ballerina dreams.
What were they trying to say? What happened?... You're all pretending you know what it means.
Aronofsky wants you to feel that heroin oozing into your vein, he wants you to feel that barbed wire and glass burrowing under your tights, and here he wants you go right off the deep end with a girl in a tutu
Black Swan is a top-form thriller-visceral, moving, and stunningly beautiful-but it's also a film about the darkness our own minds conjure up when we're overwhelmed by ambition.
The impeccable casting adds an elevated element of reality to a film that already hits so close to home.
While there are few films that with look and sound as good as this as 2011 plays out, there'll will be even less that will be so misunderstood. Black Swan is a hoot. A silly, melodramatic hoot.
Black Swan is way over the top (not that his films were ever subtle) in saint/whore dichotomy with bombastic Swan Lake score. But it fits with visceral visuals creating internal chaos in the character.
Director Darren Aronofsky has done an excellent service by showing how art has reached the extreme of a downward demonic trend. Now that we've reached that extreme, perhaps, like the yin-yang symbol, things will turn around.