Black Swan - Movie Reviews - Rotten Tomatoes

Black Swan Reviews

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January 14, 2018
I am a fan of aronofsky direction style, but that was one of the best movies that I ever saw in my life.
I really did not expected that last plot twist, the movi4e is well ambiented in the sick head of a schizophrenic, the last plot twist simply blow me away
January 5, 2018
Fantastic Film. Black Swan, in many regards, is an absolute masterpiece. Great films are ones that leave a lasting effect on the viewer long after the credits roll. Black Swan does this though its engaging screenplay, superb cinematography, underlying subtexts, and most importantly, fabulous acting from the whole cast, especially Natalie Portman's portrayal of Nina. After watching this, consider me a fan of Darren Aronofsky!
January 3, 2018
Visually mesmerizing - but ultimately a shallow film about shallow characters by a shallow man. The characters are all flat. Portman's descent into madness reads disingenuous and her character's eating disorder, perhaps there because rape is too cliché. For a similar, and better work - try out Perfect Blue (1996) of which Aronofsky has the English rights to.
December 31, 2017
La película explora la presión psicológica que afronta un balletista al obtener un papel protagónico en una obra, en este caso, el Lago de los Cisnes que es una obra maestra universal de la danza clásica como lo es también La Bella Durmiente o Coppelia (por ilustrar unos ejemplos) Dicho esto, es comprensible que se genere cierta obsesión por perfección de parte de aquella que encarne a Odile y Odette como suele pasar en la vida real y como efectivamente ocurre en la película.

Lo interesante es que más allá de esa presión comprensible, se representa en Nina (Portman) un evidente trastorno de la personalidad fruto de esa presión y el abuso de Leroy, el director de la obra en su afán de, ya sea solo obtener sexo con Nina o bien por querer que esta desarrolle las habilidades artísticas que aún no puede liberar por demasiado "control" en su técnica. En ese aspecto la película resulta interesante; hay suspenso y cierta confusión coherente en la protagonista a la cual la locura la acecha desde el momento en que recibe el papel.

El ambiente es grisáceo, lugubre y frío y contrasta perfectamente con el calvario de la jóven Nina y al mismo tiempo crea en el espectador esa sensación de lastima por todo lo que le llegue a ocurrir a la protagonista. Los actores realmente son convincentes y eso se agradece. No es una película de Disney...

Lo único que me molesta es el mensaje. Básicamente el mismo director ha dicho que el final refleja la transición de niña a mujer. Y esa transición es algo estúpida puesto que pareciera que para ser una mujer madura se debe desarrollar una personalidad hóstil, lasciva y despreocupada y eso contradice un tanto la naturaleza de la película, puesto que en toda la película lo evidente es que la chica Nina sufre de un problema psicológico y de un efecto "Bomba Atómica" que es aquel en donde la persona que aparenta abstenerse del enojo, en algún momento lo libera y lo libera de manera atroz. Para mi disfrute personal, considero que la película no tiene más mensaje que el de la obsesión por perfección y aceptación de la protagonista que no hizo más que llevarla a desvariar. Es por ello que como un Thriller psicológico la película es maravillosa.

El Soundtrack es aceptable. Para los que amamos la danza clásica y su música, sabremos que el 80% de crédito es para Tchaikovsky puesto que el OST tiene la partitura de Swan Lake como base, sin embargo al ser una película de ballet que no pretende ser un documental sobre el mismo, es bastante acorde a la atmósfera de los acontecimientos.

Recomiendo la película. Muy buena como suspenso (no como terror) y realmente se disfruta por la fotografía, maquillaje, elenco, desarrollo de escenas, continuidad y ante todo el "Juzgue usted mismo" Factor que me maravilla ya que considero que cuando un guión da demasiadas explicaciones, se pierde la chispa de imaginación en el espectador.

Respecto a las coreografías, seré sincero...No practico danza de ninguna clase, pero basándome en las interpretaciones que en la vida real he visto sobre Swan Lake, puedo decir que los pasos del filme son "verosímiles"

A quien haya leído mi crítica, gracias. Me fascina el ballet, me fascina el Lago de los Cisnes y les recomiendo muchísimo apoyar las artes escénicas de su país o del extranjero. A propósito del título de la película; El Cisne Negro siempre ha sido sinónimo de gallardía y bravura y no es por nada que en los teatros llueven aplausos cada vez que aparece esta antagonista.
December 19, 2017
Puntaje original: 8.0

Una obra maestra, Black Swan consolida a Darren Aronofsky como uno de los máximos exponentes de los thrillers psicológicos. Visceral, oscura, impactante y una soberbia actuación de Natalie Portman.
December 16, 2017
Great but can't warrant a recommendation due to immorality in the film. It was extreme abit.
½ December 9, 2017
While the White Swan in me will say of 'Black Swan' that's it is an interesting character study which serves as a suitcase for Portman, the Black Swan, on the other hand, will say that it is an ugly, exhausting and pretentious psychological thriller by Darren Aronofski which will make you want to stick to Scorsese's 'Taxi Driver'. Sadly, the Black Swan dominates.
November 13, 2017
Director Darren Aronofsky delivers an intense and twisted masterpiece. Alongside Natalie Portman's committed and daring performance, Black Swan mercifully takes its final bow. So good, I passed out in theaters on the first screening...
November 10, 2017
complete madness at times, literally. Gives you a few things to think about after, but that is what Darren aronofsky does best. Very well directed and a really good watch.
½ November 8, 2017
Black Swan is powered by Natalie Portman's mesmerizing performance, showing how far you have to go in order to become a perfect dancer.
October 2, 2017
Great movie!!! I loved seeing Winona Ryder play an older role since she has been acting since she was a child!!!
September 24, 2017
"Black Swan" is my favorite Darren Aronofsky film and one of my favorite psychological thrillers of all time. Natalie Portman gives the best performance of her career as Nina Sayers, a virginal ballerina who descends into the rabbit hole as she tries to perfect her skills and become the Black Swan. Aronofsky, one of the most ingenious and ambitious filmmakers in the business, has crafted a twisted dark fantasy that pushes your boundaries. As Nina starts to loser her mind, the nightmarish imagery becomes even crazier and more insane. It had me on the edge from start to finish and I was riveted throughout. You won't be able to shake it off.
September 23, 2017
Engaging as a insanity laden character piece with a terrific score, Black Swan leaves too many questions unanswered. Style demands substance.
½ September 17, 2017
A fascinating film with great performances especially from Natalie Portman who definitely gives it her all and because of it you have a very good haunting film.
September 17, 2017
Puntaje original: 8.0

Una obra maestra, Black Swan consolida a Darren Aronofsky como uno de los máximos exponentes de los thrillers psicológicos. Visceral, oscura, impactante y una soberbia actuación de Natalie Portman.
September 16, 2017
Brilliant, absorbing, disturbing and always wildly engaging. Cassel, Portman and Kunis are all fantastic.
½ September 9, 2017
I think what is most enthralling about Black Swan is the protagonist's descent from innocence and frailty into corruption and madness. Aronofsky creates a stunning portrait of an artist chasing perfection, at first timid and then daring to cross all boundaries to reach what she wants. The film is a masterclass in acting, cinematography, music, choreography, and writing. Portman's performance is stunning and absolutely some of her best work to date -- her evolution and her fall from innocence is breathtaking. I loved seeing how manipulative Nina became, and how tangible her personality changes were reflected in her dancing. Here is a movie that messes with your head, a psychological thriller that keeps its viewers on its toes while delivering on all fronts. After rewatching it, I have to say that I appreciate Aronofsky's craft even more.
September 5, 2017
In 2004, a comedy troupe made up of five guys called âBroken Lizardâ? released what I thought was an absurdly funny spoof of horror movie conventions called âClub Dread.â? A shape suddenly appears behind a character, and a loud music queue goes off making the audience jump, or a series of contrived twists turn the plot into Swiss cheeseâ"âClub Dreadâ? simultaneously mocked and embraced these kinds of traditions. Although as we can usually expect this protocol in most run-of-the-mill horror movies, never did I think that visionary director Darren Aronofsky would stoop to that level, and all but disregard the integrity and grit that he has layered into all of his previous films.

But I think I am getting ahead of myself. Aronofskyâ(TM)s new film âBlack Swanâ? centers on Nina Sayers (Natalie Portman), a ballet dancer who is technically proficient, but lacks the raw emotional element of the craft. She lives with her mother, Erica (Barbara Hershey), who once a dancer herself and now wants Nina to succeed farther than she ever could. Erica had to stop dancing after she got pregnant, and she now is the ultimate stage-mom, controlling every moment of her daughterâ(TM)s life and browbeating her when she questions her guidance.

Ninaâ(TM)s other instructor in life is the suave, challenging Thomas Leroy (Vincent Cassel.) He casts Nina in the duel role of the White and Black swans in his new âstripped-downâ? production of Tchaikovskyâ(TM)s âSwan Lake.â? Leroy tells her that she is perfect for the White Swan, but that in order to play the Black Swan to perfection, she must let go and feel the passion and the intensity.
Perfection is the key word here. Aronofsky has called his new film âa perfect companion pieceâ? to his previous film, âThe Wrestler,â? which, along with his previous three (âThe Fountain,â? âRequiem for a Dream,â? âPiâ?) also dealt with obsession and addiction. This time, Aronofsky tackles the obsession with perfection, and Portman is his puppet.

After a rival dancer (Mila Kunis) arrives and seems to be out to get her, Nina slowly begins to deteriorate mentally and physically, as she descends into a downward spiral that only Aronofsky could possibly have envisioned.

Portman has received much acclaim for what many film critics have called the performance of her career. I donâ(TM)t want to spoil what Aronofsky and crew have cooked up for a finale by talking too much about specifics in her performance, but in the final third, audiences can expect to discover a side of Portman that almost unrecognizable, as she seemingly goes to a dark and sinister place in her mind to become the duel role. Trained for almost a year to prepare for this role, and the hard work definitely shows. It is a stunning balancing act of technical and emotional skill, and she is superb.

Portmanâ(TM)s performance is complimented by some very good supporting work from the always-terrific Cassel, Barbara Hershey and Mila Kunis. Unfortunately, this is where the film becomes harder to discuss.

SPOILERS FOLLOW:
When talking about the characters and their intentions, the lines between reality and Ninaâ(TM)s imagination become so profusely blurred that I am left asking myself, âWho cares?â? I donâ(TM)t want to be asking that question, and I almost feel guilty considering how much I have admired Aronofskyâ(TM)s work in the pastâ"âThe Wrestlerâ? was one of the best films of the past decade. But this time around, he has ventured into horror movie territory and fumbled the raw passion that Nina herself actually does finally realize with her final transformation, a stunning visual effect and an image that still haunts my mind.

I understand that this movie is pure melodrama, and that the stakes are raised to the nth degree in order to achieve the grandest of finales. We are shown absurd images of Ninaâ(TM)s degenerating mental state, as her psychoses lead her to transform into the swan (an elongated neck here, bird legs there, black feathers all over), and it is a fascinating concept.

But the concept is immersed in heavy-handed symbolism and disconcertingly average âjump-scaresâ? and other horror conventions that have no place here. I have given a lot of thought to the ending, and have decided that it works better than I originally concluded. This movie most certainly deserves a second look, but right now I think that it is Aronofskyâ(TM)s weakest outing yet.
END SPOILERS:

The cinematography by Matthew Libatique (another Aronofsky regular) is also worth mentioning, as it is the most distracting and irritating work he has done. That is a mouthful, considering that he worked on the erratically filmed âRequiem for a Dreamâ? and âPi.â? He did not work on âThe Wrestler,â? but it seems as though he is trying to replicate that same style of following closely behind the main character wherever she goes. It is way too shaky this time around. I will say that the ballet scenes are wonderfully captured. Handheld cameras were used here to a greater advantage, so the dancers could be chased around as they flutter on and offstage, creating a wonderful flow of movement.

What works best in âBlack Swan,â? aside from the performances, is the wonderful use of Tchaikovskyâ(TM)s music, arranged and (I assume) remixed by the brilliant Clint Mansell, an Aronofsky regular whose work never fails to send chills up my spine. His music is like another character in the film, as it lives and breathes just like Nina does. Now if Aronofsky could have only managed to breathe a little more life into the film itself, it could have been a far more interesting film.
½ September 3, 2017
There was little about this movie that I enjoyed or connected with. Grey and stark, I found the atmosphere and settings reminiscent of a low-budget movie. Although the tension increases mildly in the second half, it wasn't enough to save it. AAN GGN 1001
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