By Ryan Parsons | Image property of Fox Searchlight, TrailerAddict
Black Swan got put n displace at Venice and enough critics were there to talk about it. So, how did Darren Aronofsky do? Great, from what we can tell.
Reviewed: Black Swan
Since I'm a huge fan of Darren Aronofsky, the trailer for Black Swan already had me sold on the film. But I do admit that I'm glad the early buzz is positive also. Take a gander:
A wicked, sexy and ultimately devastating study of a young dancer's all-consuming ambition, "Black Swan" serves as a fascinating complement to Darren Aronofsky's "The Wrestler," trading the grungy world of a broken-down fighter for the more upscale but no less brutal sphere of professional ballet. Centerstage stands Natalie Portman, whose courageous turn lays bare the myriad insecurities genuinely dedicated performers face when testing their limits, revealing shades of the actress never before seen on film. As with "The Wrestler," Fox Searchlight faces formidable marketing challenges, likely exploiting the psychosexual thriller's racier elements to eke out a similarly modest score.
As a sensory experience for the eyes and ears, “Black Swan” provides bountiful stimulation. Aronofsky and cinematographer Matthew Libatique choreograph the camera in beautiful counterpoint to Portman’s dance moves, especially in rehearsals, and the muted color scheme on rather grainy stock look like a more refined version of what the director did on “The Wrestler.” Tchaikovsky’s ever-present music supplies plenty of its own drama and the dance world details seem plausible enough.
Like what you hear? Then check out the full reviews for Black Swan by checking the bold links above.