movie film review | chris tookey

Black Swan

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  Black Swan Review
Tookey's Rating
10 /10
Average Rating
7.34 /10
Natalie Portman , Mila Kunis , Vincent Cassel
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Directed by: Darren Aronofsky
Written by: Mark Heyman, Andrew Heinz, John McLaughlin

Released: 2010
Genre: DRAMA
Origin: US
Length: 103

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Aronofsky isn't loose enough, or canny enough, to be in touch with its camp soul.
(Stephanie Zacharek, Movieline)
Black Swan is a stage door melodrama putting new spins on cliches as old as All About Eve (and maybe Adam). Setting them among ballerinas as opposed to showgirls or movie stars doesn't make them any less familiar.
(Steve Persall St. Petersburg Times)
It's excessive and psychologically imprecise, coarse where it should be refined and too much like a David Cronenberg horror movie in places where restraint and intellectual rigor are called for.
(Mick LaSalle, San Francisco Chronicle)
Portman toils slavishly to realize Aronofsky's mad vision. It isn't her fault that, despite Black Swan's visual splendor and bursts of grand guignol excess, this emotionally inert movie never does grow wings.
(Dana Stevens, Slate)
This exercise in hysteria is so over the top that you don't know whether to scream or laugh. Despite an emotionally gripping performance by Natalie Portman, it's nothing more than a lavishly staged Repulsion in toe shoes.
(Rex Reed, New York Observer)
Indeed, White Swan/Black Swan dynamics almost work, but the horror-movie nonsense drags everything down the rabbit hole of preposterousness.
(Kirk Honeycutt, Hollywood Reporter)
Off the dance floor, however, Black Swan is trashy and incoherent. Aronofsky, for all his gifts, is a gaudy maestro, opportunistic and insecure as an artist.
(David Denby, New Yorker)
Not just any kind of trash, it's high-art trash, a kind of When Tutu Goes Psycho that so prizes hysteria over sanity that it's worth your life to tell when its characters are hallucinating and when they're not... The only problem with calling Black Swan sensationalistic and over the top is that it makes this shameless shotgun marriage of The Red Shoes and Roger Corman sound like more fun than it is. The director here is the earnest Darren Aronofsky, and his trademark sledgehammer style makes any kind of enjoyment difficult. As he showed in The Wrestler and earlier, this is someone who believes in bludgeoning audiences into submission. When you experience ballet the Aronofsky way, you count yourself lucky that the dancers don't have easy access to staple guns.
(Kenneth Turan, Los Angeles Times)
Darrenofsky has never been known for his subtlety, but now it seems like he's metamorphosed into some kind of arthouse Tony Scott.
(Charlie Lyne, Ultra Culture)
An exercise in the higher kitsch, a slick, pretentious film in which the polished surface is a distorting mirror.
(Philip French, Observer)

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