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Suswatibasu (1701 KP) rated Annihilation (2018) in Movies
Mar 15, 2018 (Updated Mar 15, 2018)
Last scene was the only good scene
I may be able to speak for many who saw this film and thought what the heck was that about? Natalie Portman, a biologist, ventures into unknown territory after her husband, played by Oscar Isaac, mysteriously reappears after a year completely oblivious to where he had been. In a bid to seek answers, she teams up with a group of women for what can only be described as a suicide mission.
This may have gone far past Philip K. Dick territory in bizarreness. Most of the film felt inconsequential, with strange atmospheric music, and confusing sequences of events. It definitely seemed like the director tried incredibly hard to create an intelligent science fiction thriller in the same vein as @Solaris (2002) or @Arrival (2016), but the weak plot just seemed to refract his overall intention (see what I did there?)
The last few scenes were probably the most gripping, and rather unnerving. But unfortunately two scenes does not make a film.
This may have gone far past Philip K. Dick territory in bizarreness. Most of the film felt inconsequential, with strange atmospheric music, and confusing sequences of events. It definitely seemed like the director tried incredibly hard to create an intelligent science fiction thriller in the same vein as @Solaris (2002) or @Arrival (2016), but the weak plot just seemed to refract his overall intention (see what I did there?)
The last few scenes were probably the most gripping, and rather unnerving. But unfortunately two scenes does not make a film.
Movie Metropolis (309 KP) rated Thor: The Dark World (2013) in Movies
Jun 10, 2019
The departure of Kenneth Branagh and the subsequent trouble finding a director landed Thor: The Dark World in hot water before filming had even commenced. Helmed by Alan Taylor who went on to direct Terminator Genisys (oh dear), Thor: The Dark World is one of the weakest films in the entire MCU.
Plagued by a dull script and another phoned-in performance by Natalie Portman, it lacks the humour and sheer sense of madness that the god of thunder’s story requires. Christopher Eccleston also wins the prize for the MCU’s very worst villain – Malekith. May god help us all.
https://moviemetropolis.net/2018/04/21/the-entire-marvel-cinematic-universe-ranked/
Plagued by a dull script and another phoned-in performance by Natalie Portman, it lacks the humour and sheer sense of madness that the god of thunder’s story requires. Christopher Eccleston also wins the prize for the MCU’s very worst villain – Malekith. May god help us all.
https://moviemetropolis.net/2018/04/21/the-entire-marvel-cinematic-universe-ranked/
Kristy H (1252 KP) rated Once And For All in Books
Feb 1, 2018
Louna is the daughter of a single mother, Natalie Barrett. Natalie runs a famous wedding planning business with her friend William. Together--often with Louna's assistance--they help frantic brides have the perfect day. But Louna, Natalie, and William are a cynical trio: so much that they even take bets on the success of each wedding after every affair is over and they're cleaning up. Louna has another reason to be cynical: she met her true love the previous summer, but it ended tragically. After graduating high school, she's just trying to get through her last summer and head off to college. Standing in her way: charming Ambrose, the brother of one of her mother's clients. Natalie takes on Ambrose as an employee to appease her client, so Louna is stuck with cheery, serial-dater Ambrose. But the more time she spends with him, the less he starts to bother her...
<i>I was surprisingly charmed by this novel.</i> It's predictable, but in a good way. You know what you get with a Dessen novel, and this book came along at a good time for me. It's more serious than expected (I won't spoil that plot twist for you) but also <i>breezy and sweet at times.</i> Louna is a likeable heroine--flawed, complicated, real. The supporting cast of characters is humorous and realistic: Louna's best friend Jilly, whose parents have a food truck business and saddle Jilly with her many younger siblings; William, with his bride-whisperer tendencies; Natalie, and her rigid obsession with her business; and girl-crazy Ambrose, who verges on stereotype, but manages not to. The book also gives you a fun look into the wedding business, which is sort of enjoyable and lets you see how most of our characters deal with stress.
Overall, <i>this is an engaging novel, with serious undertones.</i> It's a quick read, powered by an enjoyable cast of characters. While there are some dark moments that may surprise you, the romance probably won't. But there's nothing necessarily wrong with that sometimes. :)
You can find my review of Dessen's novel SAINT ANYTHING <a href="https://www.goodreads.com/review/show/1267324399?book_show_action=false&from_review_page=1">here</a>;.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
<i>I was surprisingly charmed by this novel.</i> It's predictable, but in a good way. You know what you get with a Dessen novel, and this book came along at a good time for me. It's more serious than expected (I won't spoil that plot twist for you) but also <i>breezy and sweet at times.</i> Louna is a likeable heroine--flawed, complicated, real. The supporting cast of characters is humorous and realistic: Louna's best friend Jilly, whose parents have a food truck business and saddle Jilly with her many younger siblings; William, with his bride-whisperer tendencies; Natalie, and her rigid obsession with her business; and girl-crazy Ambrose, who verges on stereotype, but manages not to. The book also gives you a fun look into the wedding business, which is sort of enjoyable and lets you see how most of our characters deal with stress.
Overall, <i>this is an engaging novel, with serious undertones.</i> It's a quick read, powered by an enjoyable cast of characters. While there are some dark moments that may surprise you, the romance probably won't. But there's nothing necessarily wrong with that sometimes. :)
You can find my review of Dessen's novel SAINT ANYTHING <a href="https://www.goodreads.com/review/show/1267324399?book_show_action=false&from_review_page=1">here</a>;.
<center><a href="http://justacatandabookatherside.blogspot.com/">Blog</a>; ~ <a href="https://twitter.com/mwcmoto">Twitter</a>; ~ <a href="https://www.facebook.com/justacatandabook/">Facebook</a>; ~ <a href="https://plus.google.com/u/0/+KristyHamiltonbooks">Google+</a>; ~ <a href="https://www.instagram.com/justacatandabook/">Instagram</a>; </center>
Christine A. (965 KP) rated Somebody’s Daughter (Detective Natalie Ward #7) by Carol Wyer in Books
Aug 24, 2020
I was provided with a complimentary copy of this book so I could give an honest review. The opinions are entirely my own, and any quotes are taken from the ARC and may be different in the final published copy.
Somebody's Daughter is the 7th book in Carol Wyer's Detective Natalie Ward series. If you have read my reviews of her earlier works, you know I enjoy her series. Somebody's Daughter is no exception.
This time, significant changes have shaken up and changed the dynamics of the team. Detective Natalie Ward has been promoted to DCI and Lucy Carmichael is now the DI for the team.
The new team's first case finds Natalie not sitting behind the desk as much as she should. But would anyone expect anything else from her? At first, the killings seem unrelated, and Lucy is unsure if it is even one murderer or two. The bodies pile up, and the team begins to doubt themselves and feel pressure from the top to close the case.
Wyer's police procedurals are well-written with relatable characters. She focuses on solving the crime but also on the police team's interactions with each other and with their home life. By now, they are so familiar they feel like old friends.
No future books are listed on Goodreads, but Wyer recently tweeted she completed the first draft of her 25th novel! Of course, I will be on the lookout for it.
This 200-word review was published on Philomathinphila.com on 7/15/20 and updated on 8/24/20.
Somebody's Daughter is the 7th book in Carol Wyer's Detective Natalie Ward series. If you have read my reviews of her earlier works, you know I enjoy her series. Somebody's Daughter is no exception.
This time, significant changes have shaken up and changed the dynamics of the team. Detective Natalie Ward has been promoted to DCI and Lucy Carmichael is now the DI for the team.
The new team's first case finds Natalie not sitting behind the desk as much as she should. But would anyone expect anything else from her? At first, the killings seem unrelated, and Lucy is unsure if it is even one murderer or two. The bodies pile up, and the team begins to doubt themselves and feel pressure from the top to close the case.
Wyer's police procedurals are well-written with relatable characters. She focuses on solving the crime but also on the police team's interactions with each other and with their home life. By now, they are so familiar they feel like old friends.
No future books are listed on Goodreads, but Wyer recently tweeted she completed the first draft of her 25th novel! Of course, I will be on the lookout for it.
This 200-word review was published on Philomathinphila.com on 7/15/20 and updated on 8/24/20.
Lindsay (1717 KP) rated A Season on the Wind in Books
Oct 26, 2022
This book is about two lovely Amish folks. One named Micah and his older sister Penny. We meet a fellow twitcher who looks a little lost and does not seem to want to remember his past. Will he remember Penny Weaver? Or will he be a stranger?
We have birds, and bird logs mentioned at the end of each chapter. Will Ben see his way back to the Amish and find that his love is the one that sparked his love for birds? Will there be romance sparked for Penny and Ben and maybe even Micah? Ben's cousin seems to may have found a love interest.
Ben seems to need to get over an illness but does not know he has it. While he is in town, Happ seems to recognize Ben, and so does Penny when she first steps and arrives at Lost Creek Farm. What will Ben do, and will Ben go bird searching with Micah? They seem to be on a rare hunt for a White-Winged Tern.
We are getting more of the relationships from Natalie and Boyd. Micah seems to be interested in Shelley Yoder. But is Shelley into Micah? Ben seems to be on the edge of his past life and does not want to see his father. All because of his brother Levi. But will Ben come around soon? He keeps getting memories of this little brother Levi. Are they good or not? It seems the lord is working on them all. Including Penny. Will Ben and Penny get together?
The CBC is around, and all of them are trying to partner up for the big event. The Christmas Bird Count is the first for StoneyRidge. How will it go, and Will Ben catch his rare bird? It seems to be evading Micah and Ben, this little White Tail Tern. Natalie may be falling for Boyd, but will she run away too? I hope she stops comparing Boyd to her ex-husband Joel. But we will have to see.
We have birds, and bird logs mentioned at the end of each chapter. Will Ben see his way back to the Amish and find that his love is the one that sparked his love for birds? Will there be romance sparked for Penny and Ben and maybe even Micah? Ben's cousin seems to may have found a love interest.
Ben seems to need to get over an illness but does not know he has it. While he is in town, Happ seems to recognize Ben, and so does Penny when she first steps and arrives at Lost Creek Farm. What will Ben do, and will Ben go bird searching with Micah? They seem to be on a rare hunt for a White-Winged Tern.
We are getting more of the relationships from Natalie and Boyd. Micah seems to be interested in Shelley Yoder. But is Shelley into Micah? Ben seems to be on the edge of his past life and does not want to see his father. All because of his brother Levi. But will Ben come around soon? He keeps getting memories of this little brother Levi. Are they good or not? It seems the lord is working on them all. Including Penny. Will Ben and Penny get together?
The CBC is around, and all of them are trying to partner up for the big event. The Christmas Bird Count is the first for StoneyRidge. How will it go, and Will Ben catch his rare bird? It seems to be evading Micah and Ben, this little White Tail Tern. Natalie may be falling for Boyd, but will she run away too? I hope she stops comparing Boyd to her ex-husband Joel. But we will have to see.
Awix (3310 KP) rated Annihilation (2018) in Movies
Mar 17, 2018 (Updated Mar 17, 2018)
Visually striking, cerebral SF-horror movie, notable for being released via Netflix rather than cinemas in most of the world. Ex-soldier-turned-biologist Natalie Portman joins a mission into a mysterious zone where the laws of reality seem to be breaking down.
You can kind of see why Paramount got cold feet and requested changes to the ending in particular, for it is weird and wilfully enigmatic (rather beautiful too, of course), but then the whole movie spurns the obvious elements of outlandish splatter the premise suggests in favour of a weird and unsettling atmosphere (the director has suggested it was inspired by H.P. Lovecraft as much as the stated source novel). Kind of derivative, but not necessarily in a bad way; probably a bit too chilly and intellectual for its own good. Obviously the work of the same director as Ex Machina; one day Garland will figure out how to make an SF movie that doesn't just play with ideas in a rather sterile way, and then he may produce something really exceptional.
You can kind of see why Paramount got cold feet and requested changes to the ending in particular, for it is weird and wilfully enigmatic (rather beautiful too, of course), but then the whole movie spurns the obvious elements of outlandish splatter the premise suggests in favour of a weird and unsettling atmosphere (the director has suggested it was inspired by H.P. Lovecraft as much as the stated source novel). Kind of derivative, but not necessarily in a bad way; probably a bit too chilly and intellectual for its own good. Obviously the work of the same director as Ex Machina; one day Garland will figure out how to make an SF movie that doesn't just play with ideas in a rather sterile way, and then he may produce something really exceptional.
Christine A. (965 KP) rated A Cut for a Cut (Detective Kate Young #2) in Books
Jul 21, 2021
I was provided with a complimentary copy of this book so I could give an honest review. The opinions are entirely my own, and any quotes are taken from the ARC and may be different in the final published copy.
Detective Kate Young is back in the second installment of Carol Wyer's Detective Kate Young series, A Cut for a Cut. To give a fair review, I read the first book in the series, An Eye for an Eye. Some books in a series can stand alone. With this one, you would benefit from reading the first book.
I am a fan of Wyer's two police procedural series, her DI Robyn Carter series and the Detective Natalie Ward series, and was excited about a new series.
Young is a damaged but determined detective who works with a small team. She is struggling to come to terms with her husband's murder, and her team begins to notice she is not on the top of her game when they are tasked with finding who is sexually assaulting then killing young women. The investigation hits home when one of the victims is a woman the team all know through work. All through this, Kate continues an unsanctioned investigation started in the first book.
Let me just say, if you are a fan of British police procedural and strong women characters, then this or either of Wyer's other two series are ones to read.
This 200-word review was published on Philomathinphila.com.
Detective Kate Young is back in the second installment of Carol Wyer's Detective Kate Young series, A Cut for a Cut. To give a fair review, I read the first book in the series, An Eye for an Eye. Some books in a series can stand alone. With this one, you would benefit from reading the first book.
I am a fan of Wyer's two police procedural series, her DI Robyn Carter series and the Detective Natalie Ward series, and was excited about a new series.
Young is a damaged but determined detective who works with a small team. She is struggling to come to terms with her husband's murder, and her team begins to notice she is not on the top of her game when they are tasked with finding who is sexually assaulting then killing young women. The investigation hits home when one of the victims is a woman the team all know through work. All through this, Kate continues an unsanctioned investigation started in the first book.
Let me just say, if you are a fan of British police procedural and strong women characters, then this or either of Wyer's other two series are ones to read.
This 200-word review was published on Philomathinphila.com.
Movie Metropolis (309 KP) rated Black Swan (2010) in Movies
Jun 11, 2019
Darren Aronofsky’s Black Swan has received a lot of attention since it was released what feels like many moons ago. With countless award nominations on both sides of the Atlantic, it could perhaps be one of the most talked about films of the decade; but is it all style over substance? Let’s find out.
What strikes you immediately is just how beautifully choreographed and styled the film is throughout, with some outstanding cinematography and wonderful set pieces. However, this doesn’t necessarily constitute to a brilliant film and unfortunately, whilst being technically near-perfect; Black Swan falls down in a few key areas for it to be considered flawless.
Natalie Portman stars as troubled ballet dancer (if you hadn’t already guessed) Nina Sayers who dreams of becoming one of the world’s best dancers. This becomes apparent from the off, with a very possessive mother (played very well by Barbara Hershey) who is constantly striving for her to improve on what she has accomplished. The local ballet company, run by a fantastic Vincent Cassel begins a new season with the renowned ballet, Swan Lake. Cue Nina to receive the amazing honour of playing the Swan Queen.
However, it’s not all plain sailing as she tries to throw off the frigid, stiff dancing she has been practicing for years. Whilst this may sound a little dull, on screen it becomes a great treat to watch, thanks partly to Aronofsky’s fantastic cinematography and Portman’s compelling performance. Her acting is so superb that you feel as if you are there with her whilst she is going through the horror of creating the ‘perfect’ dance. What shines through all the doom and gloom is how much soul the film has; many similar movies lose their characters and ultimately the soul because so much attention goes into the finer points of the picture. Thankfully, this is not the case here.
Unfortunately, as with any film, there are a few negative points which detract from the whole experience. Whilst Portman, Cassel and Kunis all have excellent on screen chemistry; it remains difficult for the viewer to differentiate between Nina’s imagination and what is reality; it is definitely a film that needs to be watched, one moment of drifting from its attention will leave you scuppered and lost. This is most annoying, because if it weren’t for this, there would be nothing wrong apart from a very sudden ending.
Overall, Black Swan is a sight to behold because no review can do it justice. Portman’s performance is by far the best part of this very thrilling and exciting film. Yes, it may not be as perfect as all the award nominations make it out to be, but you would be hard pushed to find a more compelling and ultimately more satisfying cinema experience.
https://moviemetropolis.net/2011/02/13/black-swan-2011/
What strikes you immediately is just how beautifully choreographed and styled the film is throughout, with some outstanding cinematography and wonderful set pieces. However, this doesn’t necessarily constitute to a brilliant film and unfortunately, whilst being technically near-perfect; Black Swan falls down in a few key areas for it to be considered flawless.
Natalie Portman stars as troubled ballet dancer (if you hadn’t already guessed) Nina Sayers who dreams of becoming one of the world’s best dancers. This becomes apparent from the off, with a very possessive mother (played very well by Barbara Hershey) who is constantly striving for her to improve on what she has accomplished. The local ballet company, run by a fantastic Vincent Cassel begins a new season with the renowned ballet, Swan Lake. Cue Nina to receive the amazing honour of playing the Swan Queen.
However, it’s not all plain sailing as she tries to throw off the frigid, stiff dancing she has been practicing for years. Whilst this may sound a little dull, on screen it becomes a great treat to watch, thanks partly to Aronofsky’s fantastic cinematography and Portman’s compelling performance. Her acting is so superb that you feel as if you are there with her whilst she is going through the horror of creating the ‘perfect’ dance. What shines through all the doom and gloom is how much soul the film has; many similar movies lose their characters and ultimately the soul because so much attention goes into the finer points of the picture. Thankfully, this is not the case here.
Unfortunately, as with any film, there are a few negative points which detract from the whole experience. Whilst Portman, Cassel and Kunis all have excellent on screen chemistry; it remains difficult for the viewer to differentiate between Nina’s imagination and what is reality; it is definitely a film that needs to be watched, one moment of drifting from its attention will leave you scuppered and lost. This is most annoying, because if it weren’t for this, there would be nothing wrong apart from a very sudden ending.
Overall, Black Swan is a sight to behold because no review can do it justice. Portman’s performance is by far the best part of this very thrilling and exciting film. Yes, it may not be as perfect as all the award nominations make it out to be, but you would be hard pushed to find a more compelling and ultimately more satisfying cinema experience.
https://moviemetropolis.net/2011/02/13/black-swan-2011/
Sarah (7798 KP) rated Lost At Christmas (2020) in Movies
Nov 24, 2020
Lacking in Christmas spirit
Lost at Christmas is a Scottish romantic comedy following two strangers that team up to try and get home for Christmas after finding themselves stranded in the Scottish highlands on Christmas Eve.
As a disclaimer, I am a major cynic when it comes to Christmas films and rarely ever find myself getting into the Christmas spirit, unless it’s in the company of a bonafide Christmas classic (think Home Alone or Muppets Christmas Carol). And I’m afraid to say that Lost at Christmas is definitely not a Christmas classic.
Rob (Kenny Boyle) and Jen (Natalie Clark) have a horrific time on Christmas Eve as their respective relationships come to a rather unexpected end, and find themselves stranded at a train station in the Scottish highlands. One of the few things this film does well is the setting. It is without a doubt a beautiful looking film set in some amazing Scottish scenery and director Ryan Hendrick knows how to showcase the sheer beauty that’s on offer and does this very well. It’s just a shame the rest of the film doesn’t match up this. There are some (thankfully infrequent) attempts at CGI that are very poor, and there are some unusually shot scenes, the most notably being the bathroom scene and from outside of a car windscreen, that don’t really work. In addition to the landscapes, Hendrick seems to love arty closeups on the actors faces and I’m afraid these don’t work either.
The plot is your stereotypical Christmas romantic film – it is the only time of year where strangers would happily travel together through the middle of nowhere. Any other time of year and this would be a horror film. This isn’t the only unfathomable action either, there’s a lot of things that happen that seem completely bizarre and out of place. This may be because this is obviously a home grown low budget offering that doesn’t have the Hollywood finances to make the bizarre seem a lot more believable. In Scotland, two strangers hating each other one minute and liking each other the next seems very out of place. Although the bickering between them in the first half an hour gets very tiresome very quickly, so it may have been for the best that they started liking each other quickly! There are at least a few laughs, although nowhere near what you’d expect from a film categorised as a romantic comedy.
One of the biggest issues with Lost at Christmas is the acting. I hate to be so cruel when it’s obviously a Scottish made film with local talent, but the acting on offer here is quite poor. There are some fairly heartwarming moments that are spoilt by a cliched script and some horrific acting. It seems to vary between overly exaggerated to having no feeling or emotion whatsoever, and it leaves you feeling unconvinced about any of the relationships that evolve. Sylvester McCoy is the only one who does well, as even Clare Grogan is hindered by some ridiculously overlarge glasses that are far too prominent in nearly every scene that she’s in.
Sadly though, Lost at Christmas’s biggest flaw is that for a Christmas film, it doesn’t feel very Christmassy. Despite being set at Christmas, with snow and mentions of Christmas at every opportunity, it is severely lacking in any Christmas spirit or emotions. Christmas films are meant to be overall a rather happy and festive experience, but Lost at Christmas feels rather dull and quite low spirited. And the music, whilst good, only serves to exacerbate the lack of Christmas spirit.
Anyone who likes Christmas films no matter what will likely find Lost at Christmas fairly enjoyable. However to me it was just a bit lost.
As a disclaimer, I am a major cynic when it comes to Christmas films and rarely ever find myself getting into the Christmas spirit, unless it’s in the company of a bonafide Christmas classic (think Home Alone or Muppets Christmas Carol). And I’m afraid to say that Lost at Christmas is definitely not a Christmas classic.
Rob (Kenny Boyle) and Jen (Natalie Clark) have a horrific time on Christmas Eve as their respective relationships come to a rather unexpected end, and find themselves stranded at a train station in the Scottish highlands. One of the few things this film does well is the setting. It is without a doubt a beautiful looking film set in some amazing Scottish scenery and director Ryan Hendrick knows how to showcase the sheer beauty that’s on offer and does this very well. It’s just a shame the rest of the film doesn’t match up this. There are some (thankfully infrequent) attempts at CGI that are very poor, and there are some unusually shot scenes, the most notably being the bathroom scene and from outside of a car windscreen, that don’t really work. In addition to the landscapes, Hendrick seems to love arty closeups on the actors faces and I’m afraid these don’t work either.
The plot is your stereotypical Christmas romantic film – it is the only time of year where strangers would happily travel together through the middle of nowhere. Any other time of year and this would be a horror film. This isn’t the only unfathomable action either, there’s a lot of things that happen that seem completely bizarre and out of place. This may be because this is obviously a home grown low budget offering that doesn’t have the Hollywood finances to make the bizarre seem a lot more believable. In Scotland, two strangers hating each other one minute and liking each other the next seems very out of place. Although the bickering between them in the first half an hour gets very tiresome very quickly, so it may have been for the best that they started liking each other quickly! There are at least a few laughs, although nowhere near what you’d expect from a film categorised as a romantic comedy.
One of the biggest issues with Lost at Christmas is the acting. I hate to be so cruel when it’s obviously a Scottish made film with local talent, but the acting on offer here is quite poor. There are some fairly heartwarming moments that are spoilt by a cliched script and some horrific acting. It seems to vary between overly exaggerated to having no feeling or emotion whatsoever, and it leaves you feeling unconvinced about any of the relationships that evolve. Sylvester McCoy is the only one who does well, as even Clare Grogan is hindered by some ridiculously overlarge glasses that are far too prominent in nearly every scene that she’s in.
Sadly though, Lost at Christmas’s biggest flaw is that for a Christmas film, it doesn’t feel very Christmassy. Despite being set at Christmas, with snow and mentions of Christmas at every opportunity, it is severely lacking in any Christmas spirit or emotions. Christmas films are meant to be overall a rather happy and festive experience, but Lost at Christmas feels rather dull and quite low spirited. And the music, whilst good, only serves to exacerbate the lack of Christmas spirit.
Anyone who likes Christmas films no matter what will likely find Lost at Christmas fairly enjoyable. However to me it was just a bit lost.
Chris Sawin (602 KP) rated Black Swan (2010) in Movies
Jun 21, 2019 (Updated Jun 23, 2019)
Darren Aronofsky has been circling movie news sites pretty frequently as of late. He recently signed on to direct the stand-alone sequel to Wolverine (appropriately titled The Wolverine). He also developed a rather large and devoted fanbase over the course of directing fantastically surreal films such as Pi, Requiem for a Dream, and The Wrestler, but his psychological thriller Black Swan has also been gaining quite a bit of steam leading up to its December 3rd release. Despite Aronofsky's already well-established reputation and the rather high anticipation for the film, Black Swan still delivers a product that is even better than expected.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.
Like most ballerinas, Nina (Portman) lives, breathes, and is completely devoted to dance. Artistic director Thomas Leroy (Cassel) is preparing a new spring production of his interpretation of Swan Lake. Nina is next in line to become prima ballerina after the former dancer to hold that spot, Beth Macintyre (Ryder), reluctantly retires. Everything seems to be shifting in that direction until a rather unorthodox, provocative, and unstable (in a dangerous kind of way) dancer named Lily (Kunis) arrives. Lily seems to have an eye for Nina's spot as soon as she walks through the door. Thomas begins to see Nina as the White Swan, which signifies innocence and perfection and Lily as the Black Swan, which is more sensual and deceptive. The problem is that one dancer is required to play both parts. Other than the stiff competition she has to deal with, The Swan Queen role begins to take its toll on Nina who begins to think Lily wants even more than her spot in the production. Nina's obsessive behavior leads to her releasing her dark side that she must now struggle to control.
Aronofsky has always had an exceptional eye for cinematography in his films. His use of micro-photography in The Fountain made the entire film a visually stunning spectacle that will stand the test of time while something like a someone's pupil dilating or a drug deal gone bad in Requiem for a Dream is memorable because of the way and angle Aronofsky shot it rather than relying on its disturbing content to make the scene a classic. Black Swan is no different. Being placed behind Nina whenever she heads to the dance venue gives the viewer a rather unique third person perspective that also gives the impression that you're walking right behind the main character of the film. The intense dream sequences are also shot in a way that flawlessly blur the line between reality and hallucination. Is this really happening or is it all a figment of Nina's deteriorating imagination? Figuring that out is half the film's charm.
The extraordinary main cast is the main ingredient to the film being as great as it is though. The key players all seem to have this twisted side to them that is nearly the exact opposite of the way they first appear to be, which coincides with the Swan Lake theme. Winona Ryder steals most of the screen time she's given whether she's trashing her dressing room, yelling obscenities in Portman's face, or sitting in a hospital room. Even though Mila Kunis seems to play nothing more than her role in Forgetting Sarah Marshall to the most extreme degree on the surface, it's the edge she's given that results in unpredictablity for her character. While Vincent Cassel's performance is strong thanks to his sensual reputation with his dancers and Barbara Hersey is both charming and disturbing as Nina's mother who seems to secretly be trying to live in her daughter's dance shoes after a missed opportunity in her past, it's no surprise to hear that Natalie Portman is the heart of the film. Nina is so consumed with dance that she keeps pushing herself even when her mind and body begin to show her that she's had enough. Her breakdowns are heartbreaking and engaging to watch while her transformation by the end of the film can best be described as a monstrous beauty. It's all thanks to Portman's powerful, phenomenal, tour de force performance.
While some might not be surprised that Aronofsky has created another masterpiece, this may be his most solid and well-rounded film to date. Black Swan is a beautiful, disturbing, and captivating work of art that features gorgeous camera work, an excellent and mindbending story, and one of Natalie Portman's best performances.