★★★★ / ★★★★
The film started off with General George Patton Jr. (George C. Scott) delivering a speech about war and the importance of winning being embedded in the American culture with the gigantic United States flag on the background. It was probably one of the most patriotic scenes I’ve seen portrayed on screen, but at the same time I felt that the picture was making fun of itself. The scene aimed to establish our main character: He was intimidating because he was obsessed with discipline and excellence. His reputation as being one of the feared generals, especially by the Nazis, was well-earned because he was an uncompromising man. Fear sometimes generates respect. The film was beautifully shot. In war pictures, I find it uncommon that I notice the environment because, to me, at least with the more recent war movies I’ve seen, the environ is simply a template where we get to see bombs exploding like there’s no tomorrow. But in “Patton,” I found the second scene outstanding because it featured a peaceful landscape in the Arabian desert where American soldiers’ bodies laid lifeless as Arabian people stole the soldiers’ clothes and other belongings. Again, there was the theme of duality. On one hand, it was sad to see those dead and rotting soliders. On the other hand, we could look at the Arabian people and see that looting was their chance for survival because they obviously didn’t have much. The film is different than other war movies. With “Patton,” we don’t follow any soldier in the battlefield or realize any of his personal struggles. It simply followed the general during his glory days as he tried to compete against British Field Marshal Sir Bernard Law Montgomery (Michael Bates), attempted to outsmart German Field Marshal Erwin Rommel (Karl Michael Vogler), his probation because he slapped a soldier around for complaining about being afraid of the sounds of war, up until he regained his footing in the military. Throughout his journey, we learned so much about him such as his passion for poetry and penchant for history. The latter was his strength but at the same time it was his weakness. His enemies who didn’t know much about history often lost but those who were knowledgeable thought Patton was predictable and almost pretentious. Naturally, his strongest enemies were the ones who were just as smart as him. No one can argue against Patton’s biggest weakness being his mouth. He had no filter; he didn’t think he needed one so he was prone to saying the most inappropriate things during the most inopportune time. “Patton,” directed by Franklin J. Schaffner and partly written by Francis Ford Coppola, won seven Oscars (including Best Picture and Best Actor) not only because of its epic scale but also because of its small details that made this biopic all the more personal.
★★★ / ★★★★
When the emperor of Rome (Richard Harris) was murderered by his own son Commodus (Joaquin Phoenix), Maximus (Russell Crowe), general of the Roman empire, wanted to honor the dying man’s wishes by helping the empire turn into a republic again. This didn’t sit well Commodus because he craved for power and wanted to prove that he would be a great ruler by leading a dictatorship. The first time I saw this film, I wasn’t impressed with it. I thought the story was all over the place, the characters were simplified for the sake of being commercial, and there were a handful of glaring idioms that did not fit for its time (it was set in year 180). While I think that those flaws are still applicable, I found myself liking the movie the second time around for two reasons: this role being one of Crowe’s more moving performances and the intense action sequences. Without a doubt, the picture relied too much on the battles in the colosseum to generate some sort of tension. However, it was effective because we like the characters fighting for their lives such as the friends/fellow slave-turned-gladiators (Djimon Hounsou, Ralf Moeller) who Maximus met along his journey. I caught myself voicing out my thoughts such as “Hurry up and get up!” and “Watch out for that tiger!” No matter how much I tried, there was no way I could have kept quiet because I just had to release some of the stress I felt at the time. I also enjoyed watching Oliver Reed as the man who owned the gladiators; I found his past interesting and I wished the film had explored him more because he could have been a strong foil for Maximus. The scenes they had together were powerful because they respected each other but at the same time they didn’t want too be friendly because, after all, one was “owned” by another. Another relationship worth exploring was between the late emperor and Maximus. They treated each other like father and son but it felt too superficial, too planned. Commodus would walk in on them and feel jealous and unloved. But what else? “Gladiator,” directed by Ridley Scott, was loved by many because everything was grand and it wore its emotions on its sleeve. However, I’m still not convinced that it is Best Picture material because it often chose the obvious over the subtle path too frequently. For a sword-and-sandals epic with a two-and-a-half hour running time, while the action scenes were highly entertaining, there was no excuse for a lack of depth involving most if not all the characters. Therefore, as a revenge picture, it didn’t quite reach its potential.
The King’s Speech (2010)
★★★★ / ★★★★
Prince Albert, Duke of York (Colin Firth) had a speech problem so he and his wife (Helena Bonham Carter) tried to find a speech therapist who could “cure” the future King George VI’s condition. After seeing many medical practitioners to no avail (the doctors actually encouraged the prince to smoke cigarettes), Prince Albert’s wife hired Lionel Logue (Geoffrey Rush), a man with, at the time, unconventional ways of dealing with stuttering. As Prince Albert and Lionel spent more time together, they were successful at taking small steps forward. But each step meant Prince Albert was that much closer to becoming king, due to his father’s (Michael Gambon) death and older brother’s (Guy Pearce) abdication from the throne, and leading his people in World War II. I don’t know much about British history, but I was very engaged with what was happening. Most importantly, it didn’t feel like a history lesson. The film was a classic character study about a man who was capable of being great but a speech impediment held him back greatly. There was a positive feedback between his lack of confidence and his fear of being judged by his people. We may or may not stutter but most of us share an anxiety when it comes to public speaking. I didn’t expect the picture to have such a great sense of humor. When the characters talked about sex, they were packaged in little suggestions through wordplay and euphemisms. The actors were sublime in delivering the humor without actually winking at the camera. The joke was in the words followed by their body movements and the awkward looks they sent each other’s way. Stuttering and other speech disorders are serious issues but the material dealt with it in a fun but always respectful way. Lionel’s view that a speech disorder was not necessarily always directly related with the machanics of the mouth and facial muscles but might have sprouted from a deep psychological trauma was interesting. Although reluctant at first, Prince Albert eventually opened up about a heartbreaking childhood experience. I looked forward to their sessions because there was a division of class and that division was challenged by the slowly growing trust between the doctor and his patient. That trust between two men coming from different worlds was crucial because the future king would eventually have to make an encouraging speech to his people, a symbol that he was qualified to lead their kingdom, and announce that they were at war with Adolf Hitler. Without Rush and Firth’s strong but subtle acting, aided by Tom Hooper’s assured direction, the material could easily have been heavy-handed. Or worse, it could have been about the speech disorder itself instead of the man who happened to have it. “The King’s Speech” reminds most of us how much we take simple things for granted like being able to speak without having to worry about whether or not our mouths will form the right words.
127 Hours (2010)
★★★★ / ★★★★
Based on the book “Between a Rock and a Hard Place” by Aron Ralston that detailed his ordeal in the breathtakingly gorgeous canyons of Utah, “127 Hours” was intriguing to say the least. James Franco played Aron, a man in tune with nature, who loved to explore and to push himself physically and mentally. After helping out two women (Kate Mara and Amber Tamblyn) navigate their way through the canyons, Aron slipped and a giant rock crushed his hand. Aron was stuck and it seemed as though no matter what he did, there was no way out of his predicament. I’ve always believed that great actors can give us a moment, even as short as a millisecond, and inspire us to write a thousand words about that specific moment in time. Franco achieved just that with the look of disbelief he had on his face after realizing that he was literally caught between a rock and a hard place. As grim as the situation was, there was a certain comedic effect to it that I find difficult to describe. Perhaps that’s a part of its brilliance. The movie was, without a doubt, challenging to sit through because it expected us to watch a man suffer for more than an hour, but Franco’s likability ultimately carried the film. Through his hallucinations, fantasies, and flashbacks, we had a chance to learn about Aron such as what and who was important to him. I wish there were more scenes with Treat Williams as Aron’s father and less Clémence Poésy as our protagonist’s ex-girlfriend. We learned that Aron was resourceful and smart. I was engaged because he tried the things I would have done if I was the one stuck in his predicament. For instance, creating a pulley to lift the rock to create a greater force instead of simply chipping through it. I had to laugh myself while watching the movie because I kept thinking, “Think Physics!” Furthermore, there were some potential solutions I didn’t think about and I was curious as to what extent it would work (considering I already knew what Aron had to do to extricate himself from the boulder). Director Danny Boyle made an excellent decision to give us little rewards before delivering the intense, flinch-worthy climax. For instance, the gasp-inducing burst of tension when Aron dropped his small knife. Was he physically capable of getting it back? Outside of Aron’s increasingly desperate struggle in the canyon, Boyle created an amalgamation of images and sounds to serve as a contrast to Aron’s experience. Even before Aron got stuck, there was already excitement in the air so I was pleasantly surprised. “127 Hours” could have been fat with clichés or, worse, turned into an unintentional horror movie. Instead, it remained focused in telling a story about the human spirit.
The Fighter (2010)
★★ / ★★★★
Mickey Ward (Mark Wahlberg) and Dicky Eklund (Christian Bale) were half-brothers who had a talent and heart for boxing. Dicky was the older one who spent his time reliving his former days of glory. His family, led by Melissa Leo as the matriarch and manager, believed Dicky could make a comeback as they turned a blind eye toward his drug addiction. Mickey, after his family guilt-tripped him into fighting a boxer much bigger than him and being beaten to a pulp, began to think about accepting an offer for a year-round training, with pay, in Las Vagas. This didn’t rest well with the rest of the family except Mickey’s father (Jack McGee) and new girlfriend (Amy Adams) who offered full support. Directed by David O. Russell, “The Fighter” had all the elements to make a truly inspiring film about a man eventually overcoming all odds, but it fell short because Mickey was overshadowed by those who surrounded him. With such spicy personalities offered by Bale, Leo, and Adams, Wahlberg’s character was simply there instead of shining above the rest. He played the mediator, someone who held his tongue just in case someone would get offended by what he had to say, so he ended up boring. He was a bland wall; everyone else were colorful spots on it. I wasn’t convinced that Wahlberg had found a way to make Mickey’s silent suffering relatable or endearing. Some critics’ comparisons to Martin Scorsese’s “Raging Bull” in terms of the intensity and realism of the boxing matches were hyperboles. I suggest the same critics watch Manny Pacquiao’s boxing matches if they want to experience first-rate edge-of-your-seat entertainment. The boxing sequences in this film were commercial and the emotional impact was diluted by quick cuts and obnoxious soundtrack when it should have been primal. I kept waiting for the many distracting elements to subside, especially during the key final match, but the director opted to assault our senses. Sometimes less really is more. I thought the drama behind the scenes, particularly the mother’s increasing awareness that she could no longer manage (or control) her son’s career, were far more interesting. Furthermore, I found Adams’ performance magnetic as she tried to stand up for herself and Mickey against the family matriarch and sisters who had a pack mentality. I’ve never seen her so edgy, so stripped down. Lastly, Bale was excellent as someone who was torn between his addiction and complete adoration for his brother. He was perhaps the most complicated character because there was no doubt in our mind that he wanted the best for Mickey, yet the decisions he made were not always smart. It’s too bad his addiction was more often played for laughs. “The Fighter” was very good in terms of acting but it desperately needed to find focus on the themes it wanted to tackle. It didn’t feel like a complete work.
True Grit (2010)
★★★ / ★★★★
Mattie Ross (Hailee Steinfeld), a plucky fourteen-year-old girl, was adamant about finding Tom Chaney (Josh Brolin), her father’s cold-blooded killer, and getting even. She left her grieving mother and siblings at home while she went to town to hire a competent bounty hunter. She crossed paths with an alcoholic U.S. Marshal Rooster Cogburn (Jeff Bridges) who was first reluctant to tackle the task. Mattie desperately wanted him because she claimed he had “true grit” or the right spirit she was searching for. Mattie and Cogburn were accompanied by a Texas Ranger named LaBoeuf (Matt Damon) who also wanted to bring the criminal to justice. The western genre is normally not my cup of tea, but I couldn’t help but enjoy this film. Steinfeld’s energetic performance as a headstrong girl who wanted vengeance instantly caught my interest especially the very amusing scene when she tried to sell back the horses her late father bought. In just one simple scene, Steinfeld established that Mattie was intelligent, resourceful, and unafraid to bluff when the occassion called for it. She saw adults as untrustworthy so she had to be self-reliant and use fear to motivate others. Adults saw her as a child who didn’t know any better. On the positive side, she could get away with certain things that older folks simply would not. Much of the picture’s humor was embedded in the scenes where Cogburn and LaBoeuf tried to ascertain which one of them was the more effective lawman. Cogburn, aging and a drunkard, just didn’t know when to quit while he was ahead and LaBoeuf was difficult to take seriously because he walked around as if he already deserved to be respected. Bridges was successful in delivering the softer side of a man who wanted minimal contact with the world. Meanwhile, Damon complemented Bridges’ character by wanting to be seen, heard and admired. It was obvious that both were having great fun with their roles. As opposite as Cogburn and LaBoeuf were, the two could make a great duo when the situation turned grim. I admired the look of the film because I felt transported to that era. The contrasting images of the blistering hot desert and the bone-chilling snowy nights not only were great visually but they reflected what the characters felt, especially Mattie since we saw the story from her perspective, during their arduous journey. I just wished we had a chance to get to know Chaney a bit more in order to make room for another layer of complexity. Based on Charles Portis’ novel and directed by Ethan and Joel Coen, “True Grit” was a straightforward and character-driven revenge story. Simple is not something I’m used to when watching Coen brothers picture. Maybe that’s the irony.
Winter’s Bone (2010)
★★★★ / ★★★★
A seventeen-year-old girl named Ree (Jennifer Lawrence) had to take care of her younger brother and sister (Isaiah Stone and Ashlee Thompson) because their mother had reached a mental breakdown and therefore could not take care of them. Their situation turned for the worse when their father, who recently spent time in prison for making illicit drugs, skipped bail and put their house as collateral. With nowhere to go and not knowing what to do, the eldest child started asking her relatives about the whereabouts of the father but no one was willing to come forward and divulge information. When you live in a metropolitan area in America, it is easy to forget people like Ree and her family who had to cope with extreme poverty. As heartbreaking to see the children suffering from not having enough food day in and day out, I admired that the film did not rely on pity to tell a compelling story. The material had a defined understanding behind the meaning of this family’s specific circumstance. Ree was probably one of the bravest film characters I’ve encountered in quite some time. I immediately rooted for her because of the way she, if necessary, put herself in harm’s way so that she would be able to continue the already difficult task of raising a family. She was smart, resourceful, and determined but those were not positive attributes from the perspective of a community that used drugs to make a living. Even though the many families in question had a strict code of silence that prevented Ree from arriving at certain truths, I did not hate them because I knew that they had to look out for their own survival as well. Like Ree, they, too, had families. Two key supporting characters were the intimidating uncle named Teardrop (John Hawkes) and an older but strong woman named Merab (Dale Dickey). The most touching moments were the simple ones. When Ree interacted with her brother and sister, such as teaching them how to shoot a gun or how to skin a squirrel, there was so much love even though their living conditions were far less than ideal. The kids looked up to her and they should because their big sister constantly tried to set a great example. One of the most memorable scenes was when Ree tried to enlist in the army. Lawrence did a fantastic performance especially in that scene because I felt beyond her pain and desperation. I also felt her fear of getting into something that she was not quite sure was truly about. Written and directed by Debra Granik, “Winter’s Bone” painted a memorable portrait of people living in rural America. It showed that sometimes the smart decision is not necessarily the right one.
Joan Rivers: A Piece of Work (2010)
★★★★ / ★★★★
Ricki Stern and Anne Sundberg spent a year with Joan Rivers to document her rollercoaster ride of a career. Joan Rivers is a comedian, but she claimed she was an actress at heart; she simply played a comedian and she knew she did it well. I saw Joan Rivers for the first time on TV when she interviewed people on the red carpet during the Oscars. There were two thoughts that ran across my mind: “Who is this hilarious woman?” and “She’s had way too many facelifts.” She knew exactly what people thought of her yet she decided to forge on like she didn’t care. It’s not that she wasn’t hurt by mean comments (especially critiques directed at her acting abilities), but being in show business was what quenched her appetite yet at the same time fueled her hunger to be relevant and reinvent herself. Despite the ups and downs of Rivers’ career in a span of one year, the directors successfully painted a well-realized picture of their subject. I had no idea that Rivers had been around since the early 1960s and had appeared on “The Tonight Show Starring Johnny Carson.” I didn’t even know she won in a reality show. But it was the small details in her life that moved me, one of which was when she expressed to the camera that one of her biggest fears was that one day, she’ll turn around and find nobody she knew well enough to ask, “Do you remember?” Despite her lavish lifestyle (and she told us bluntly that she loved living comfortably), I’m convinced she held more value to personal links and true companionship than she led us to believe. That moment swept me off my feet because I did not expect it from a comedian who made outrageous jokes about AIDS, abortion, and even handicapped individuals. I was also moved at the part when she and her grandson decided to volunteer for God’s Love We Deliver to deliver food to handicapped people who couldn’t leave their homes on Thanksgiving. At end of the day, Rivers concluded that “Life is mean.” For a woman who was seventy-five years old, working at very strange (and very late) hours, sometimes traveling in the middle of nowhere, I couldn’t help but ask how she continues to do it. I found her story inspirational because it made me think about where I want my career to go. “Joan Rivers: A Piece of Work” is full of beautiful contradictions that weren’t necessarily easy to swallow but that’s exactly what I loved about it. Ultimately, that’s what I loved about her. She’s edgy, ironic and she knew the business (and the busy-ness) of show business. People thinking of establishing a career under the scrutiny of the public eye should see this documentary. They just might think twice. Joan Rivers said she’s never seen her name without a positive adjective right before it. How about the resplendent Joan Rivers?
The Secret in Their Eyes (2009)
★★★★ / ★★★★
“The Secret in Their Eyes” was about a former criminal investigator (Ricardo Darín) attempting to write a novel based on a brutal rape and murder of a newlywed 25 years ago. The Morales case was particularly important to him because the love of the husband (Pablo Rago) for his deceased wife reminded him of his love for his former co-worker (Soledad Villamil) that never came to fruition. She was engaged and he didn’t want to get in the way of her happiness. The picture’s style was to go back and forth between the present and the past making an excellent blend of thriller and drama. Co-workers falling for each other was nothing new. In fact, it had become a formula. But one of the elements I loved about the movie was it kept romance between Benjamín and Irene fresh and challenging. Unlike most romantic movies, they didn’t have say what they felt in order for us to understand what they might be going through. It was in the small gestures such as the closing of a door, a pause mid-sentence, or a quick look to the side that revealed their expectations of each other. The tension between them reflected what we would have done if we liked someone but couldn’t find the right words to say how much we want to be with them. As for the thriller aspect, I was glued to the screen because it was unpredictable. During the most intense scenes, Benjamín’s friend (Guillermo Francella), who had a drinking problem, would appear from nowhere and could potentially ruin everything. We hated him but at the same time we couldn’t help but love him. We hated him because he appeared at the most inopportune times which could make or break the case in question. But we loved him because he made the plot that much more complicated and therefore more fun to try to figure out how the pieces of the puzzle would come together. I was highly impressed with the last thirty minutes. To even hint at what transpired, I think, would do this film an injustice. All I want to say about it is it was at the point where the past and present finally converged. Many practical questions were answered but so many more moral questions were brought up. Like the characters, I found some sense of closure but at the same time I felt as though it wasn’t the closure I was looking for. The theme of men clinging onto their past was at the forefront and I couldn’t help but feel moved (and scared) when I realized how much the past could turn into a monster if we kept leaving it on the side instead of confronting it directly. Based on the novel by Eduardo Sacheri and directed by Juan José Campanella, “El secreto de sus ojos” was compelling and rewarding in every way.
Rabbit Hole (2010)
★★★ / ★★★★
Based on David Lindsay-Abaire’s play, “Rabbit Hole” was about a couple named Becca (Nicole Kidman) and Howie (Aaron Eckhart) whose son had passed away eight months ago. The two had vastly different ways of coping which caused tension between them. Becca tried to get rid of their son’s belongings while Howie desperately tried to hang onto his son’s memory by watching a video on his cell phone. Further, Becca found comfort in reconnecting with the teenager (Miles Teller) who ran over their son and Howie found common ground with another woman (Sandra Oh) who lost her son eight years ago. Directed by John Cameron Mitchell, “Rabbit Hole” was a gut-wrenching look at a couple about to pass a critical point in their grief which could go one of two ways. They could dissolve their marriage from a lack of communication or go through the notions together and find some closure. Many elements were thrown at them and we had a chance to observe their reactions. One of the key conflicts was Becca’s sister being pregnant. On the outside, Becca was seemingly supportive like when she brought over some clothes that used to belong to her son. However, there were times when her bitterness would show and snide remarks about how her sister’s future husband, a musician, might not be fit in being a father due to financial stability. Becca didn’t want to hurt others but she did small ways because she didn’t know how to deal with her anger and guilt. Mitchell took some risks that paid off. The general tone was depressing but there were some scenes that I thought were laugh-out-loud funny, particularly when Becca’s mother (Dianne Wiest) talked about kicking someone out of her house. The sense of humor did not feel out of place or inappropriate because these characters deserved some happiness in their lives. More importantly, the rapid changes in tone felt right because when someone is dealing with a great loss, various emotions, empty they may be, are amplified, sometimes reaching certain extremes. The plot may be familiar but it still managed to surprise me with its insight. I loved the scene when Becca’s mother explained to her daughter that moving on from grief was like carrying a brick in one’s pocket. When a person finally moves on, she forgets that it’s there but there comes a time when she will reach into her pocket for whatever reason and she’s reminded that it’s there. Wiest did not have very many scenes but she made the best of what she was given. Even though her character remained on the sideline, I felt like she, too, had an important story to tell. “Rabbit Hole” was emotionally exhausting but a strong picture nonetheless. It showcased why Kidman is an actor who should not be forgotten. There’s a lot of shallow talk about her face and what she did to it. I don’t care about such sensationalisms as long as she continues to make moving films like this one. The rabbit hole could be interpreted as a metaphor for depression but let’s not forget that Alice woke up from her nightmare and moved on.
The Social Network (2010)
★★★★ / ★★★★
The first thing I did after watching David Fincher’s “The Social Network” was log on Facebook to check if I had any notifications. Whether one’s feeling toward Facebook and other social networking sites be love or hate, no one can deny the fact that such simple inventions changed how people communicate. Mark Zuckerberg (Jesse Eisenberg) desperately wanted to fit in Harvard when he was an undergraduate. He wanted to get into a private club but he didn’t have the means. He was smart but he wasn’t likable. In fact, he was far from likable. When his girlfriend (Rooney Mara) broke up with him, he went up to his dorm room and posted insults about her body and her family on LiveJournal. His only real friend was Eduardo Saverin (Andrew Garfield) who also wanted to belong. Eduardo’s emotional intelligence was higher than his friend’s. Eventually, the two became partners in creating Facebook but when it was launched, Cameron and Tyler Winklevoss (Armie Hammer and Josh Pence) claimed that their idea was stolen. Sean Parker (Justin Timberlake), founder of Napster, came into the picture in order to bring Facebook to an international level. The film benefited from very strong performances from Eisenberg, Garfield, and Timberlake. I was delighted with Eisenberg’s performance because even though I’ve seen him play nerd-chic multiple times prior (with relative ease), I felt like this was his most complete and challenging performance yet. I hated him, I rooted for him, I hated him some more, and I felt sorry for him. The final shot of him refreshing a certain someone’s Facebook page was pitch-perfect because it showed that despite all the money and the acclaim, he had nobody so his life felt empty. Garfield, who’s been doing fantastic independent work for a while, is finally given the spotlight past overdue. He had a lot on his plate because he was the heart of the picture. He was David who had to face multiple Goliaths equipped with brains. We all knew it would take more than a slingshot and some pebbles for him to, not necessarily succeed because we all knew what would ultimately happen, but to take what he deserved. I was invested in his character because he struggled to remain loyal to his friend even though his friend had no sense of loyalty to him. Lastly, Timberlake did a wonderful job playing Parker, a fierce and forward-thinking businessman who knew exactly he wanted and wasn’t afraid to grab whatever he desired even if it was on someone’s else plate. His ego was probably as big as his ambition to be relevant again. Fincher’s confident direction mixed with Aaron Sorkin’s intelligent script made a wonderful film that highlighted not just the story of college students lives’ being broadcasted over the internet or the drama of the creation of Facebook, but also the highly ambitious, although sometimes misguided, natures of young adults today.
Black Swan (2010)
★★★ / ★★★★
Nina Sayers (Natalie Portman) was a ballet dancer who was chosen to play the lead role, the White Swan and the Black Swan, by the director (Vincent Cassel) in the upcoming performance of “Swan Lake.” However, although Nina had mastery in terms of technique and grace which were perfect in fully embodying the White Swan, she didn’t know how to let go of control so that, as the Black Swan, she could successfully generate enough anger and edge to leave the audiences breathless. Lily (Mila Kunis) had what Nina did not. Nina began to suspect that she was going to be replaced by the director and slowly she began her descent into madness. Darren Aronofsky fascinates me as a director. I know many disagree with me but I think he has yet to create a masterpiece. But this a good thing because I’ve noticed that he continues to evolve. Aronofsky does a wonderful job establishing a certain look and feel as he did in this film because he had concocted the right amount of realism and fantastic imagery. Blend it with a person on the verge of a psychological breakdown and we’ve got a chilling examination of a character physically pushing herself to her absolute limit. Nina wanted perfection and she had to pay a price. Portman should be commended for her dedication. I knew she was an actress of many talents with a chameleon-like approach in enveloping herself in her roles but I’ve never seen her so sensual and dangerous. Even with the complex dance sequences with booming music and dancers making their way across the screen, I was drawn to her face because the subtlety in her expressions made me wonder what was going on inside Nina’s mind. Sure, pain was involved but I wondered if she enjoyed it, too. The film reached its peak when Nina eventually couldn’t discern what was real and what wasn’t. Since we saw the story through her eyes, we also couldn’t tell reality from fantasy. It was a scary experience especially when she began to see paintings taunting her about her confusion and when she thought she had committed murder and felt the need to hide the body. The last few minutes were a barrage to the senses, completely in a good way, and I was left staring at the screen as the final shot fade to white. I was mesmerized and it left me wanting more. “Black Swan” was an intense experience but I wish it spent more time tying up loose ends between Nina and her overbearing mother (Barbara Hershey). There was an undercurrent of sexual repression inside their apartment which reminded me of Roman Polanski’s “Repulsion.” It begged the question what really drove Nina off the edge: the endless hours of practice or the endless nagging from her mother. Most would say it was both but I believe one factor was more influential than the other. If the director had spent more time highlighting trends between the two worlds, “Black Swan” would have been his best work.