She's turning into a swan. Except she isn't. She murdered the upstart
who's gunning for her job. Except she didn't. That same upstart gives
her a lip-smacking, carpet-munching cunnilingual kiss-off. Only it
never happened. Darren Aronofsky's ballet-dancer-gone-mad flick uses
Tchaikovsky's Swan Lake on stage and in rehearsal to comment on and
mirror the lives of the dancers themselves, focussing on Natalie
Portman's descent into madness. If only Portman were up to the role.
As written, her character is supposed to be a knot of obsession:
desperate to achieve perfection in her art, she ultimately identifies
with the Swan Queen so completely, a tragic fate is the only possible
outcome. But Portman is a dishrag — so attenuated and affectless as
to make you wonder where all this supposed passion inside her is
hiding. Thankfully, Mila Kunis is on hand to provide what little juice
the movie has, along with Barbara Hershey (remember her?) as the
creepiest mother since Piper Laurie in Carrie. (The only other actor
with any kind of meaningful part in this insular, claustrophobic
howler is Vincent Cassel, and he's a snore.) The best parts of Black
Swan are the campiest; when it goes over the top, you're laughing at
it, sure, but at least you're having a good time. — Jeff Schultz

One thought on “BLACK SWAN

  1. Great review (even if I disagree whole heartedly).
    Three people go to a movie and each has a different experience. That's worth the price of admission!
    Can't wait to hear what everyone else thinks.

    I loved it. Stunning.


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