Black Swan

Ballerinas? They’re pink and fluffy, or posh and prissy. The big macho “The Fighter” has just come out and that’s got a real sport in it, with actors who have beefed up especially. Let the girls have their silly little dance film. It’ll be a sports-movie for girls. Like Bring it On.

You might be mistaken into thinking the above, particularly if your brain is very small and your name is something like Gray. But The Black Swan is so far removed from both a girls’ “The Fighter”, or any sports-genre flick you can think of. It isn’t one ballerina’s struggle to do the perfect twirly thing (I know nothing of ballet but conceal it well). It’s a dark psychological horror. With dancing. Fun!

Director Darren Aronofsky, doing the whole fighting thing with The Wrestler in 2008, trips back to his trippy roots of Requiem and The Fountain for this piece, bringing surreal and graphic images to screen, twisting reality and tightening the drama. Natalie Portman plays Nina, a perfectionist and a prude, who is cast as the central character in Swan Lake. Nina’s task is to embody two roles – one the delicate white swan (which she is made for) and the other a dark and dangerous black swan. Unfortunately Nina’s attempts to transform into the dark side slowly crumble her mind.

Portman is outstanding, and deserves just as much credit as the fighting boys for her physical work, doing ballet training for a year, dropping 20lbs from her already slender frame and sustaining a rib injury during filming. It all pays off, as she is entirely believable as a ballet dancer, her grace and poise beautiful to watch. She also brings great fragility to the role and mixes it with her disintegrating sanity. Her Oscar nomination is rightly so, and I would applaud a win next month.

Aronofsky’s direction is dizzying at times, cameramen twirling among the dancers and flicking past full-length mirrors in “hang on, how’d he..?” moments. And when things get dark, they get really dark – flashes of horror and explicit violence shock among all the plumage, and the whole film leaves you somewhat shaken. There are a few moments that raise a wry eyebrow. Graphic lady-loving, though adding to the seeping darkness in Nina’s mind, is perhaps a tad unnecessary in places and starts to feel a little exploitative. But in all this is a powerful film, with some striking direction and a fantastic cast.

A tense psychological drama wrapped up in the slender and punishing world of ballet makes for a visually exciting experience. Don’t watch too close to bedtime, and if you had hopes of becoming a world-class ballerina this might just put you off. Black Swan nails a CF3.

127 Hours

Let’s face it, a film that involves one man, largely set in a single small location, with a known outcome that isn’t massively pleasant, does not make the most desirable of pitches. But golden boy Danny Boyle, glowing with over-heaped praise for Slumdog, brings the story of one man’s self discovery (hey, that’s what the inside of my arm looks like!) into must-see territory.

You know the story. Man’s arm trapped under rock. 127 long hours later man escapes. Arm does not. But Boyle plays with your expectations and tweaks the tension, creeping towards the bits you’re waiting for with nervous anticipation and throwing a few extras in to make the journey fresh. Though you’re waiting on the big separation, the rest of the 127 hours highlights the other issues poor Aron Ralston has to deal with; hunger, thirst, temperature, a loss of hope.

I say “poor Aron”, but the film doesn’t shy away from the fact that Aron is a cocky, selfish, egotistical little numbskull who thrives off ridiculous thrills and gurns for his camera at any opportunity. One of those people you went to uni with who end up going off round the world on a whim with no real life-plan, and has crazy adventures that they broadcast on a blog while you sit in a drizzly office silently hating the bastard before descending into a sea of self-pity at how uninteresting and pointless your own life is. You know – “one of those”.

Anyway, Aron himself has admitted he was a bit of a knobhead (probably) and James Franco plays it to perfection. Someone you can believably hate but at the same time, once that panic has kicked in as arm meets rock, someone you can sort of care for. There’s plenty of time to think about getting yourself into the same situation and the sheer horror of it all, and more “how far would you go?” questions than you’d probably anticipate.

At a trim 94 minutes this isn’t an epic character study, but Boyle doesn’t need to pad it out. There are some smart explorations into Aron’s psyche (a talk show being a particular highlight) and accepting your fate scenes on a par with the incinerator moment in Toy Story 3 (still haunts me). Though you’d go for the money shots – and they are brutally but stylishly handled – 127 Hours packs a strong emotional punch too. Who knew a film about a guy cutting off his arm could nearly make me cry?

The combination of a raw performance from Franco and Boyle’s typical frenetic direction with a killer soundtrack makes a bold, emotional and squirm-inducing film. Even if arm innards aren’t your cup of tea, it’s still worthy of a watch - you’ll only miss a couple of minutes if you choose to hide your eyes. 127 Hours grips and doesn’t let go, and as such pulls out a CF2.

The Next Three Days

For some reason the title of this film stuck in my head as 3 Days Later, so it was with surprise that I found it was not a prequel to the Danny Boyle zombie horror. The Next Three Days is another offering from Paul Haggis, the man who brought Crash to the Oscars back in 2005 (a film reviewed as “Yes, racism, very good. But too polished to be truly affecting” by a very young Cinemafool).

Haggis is better known for his writing, sitting behind Million Dollar Baby and the two Bond re-brands, and given the weighty nature of his portfolio it seems that Three Days is his version of a mini-break. Everyman Russell Crowe has the perfect family – hot wife with a top career and tiny big-eyed child who generally keeps quiet. Perfect. But when wifey (Elizabeth Banks) gets arrested for murder and sent to jail indefinitely, poor old Russell’s world is turned upside down. And, as all beardy college teachers would do, he decides to break his wife out of jail.

Now, this has the potential to be utter faecal matter. Crowe’s character has none of the pre-requisite skills for such an endeavour. So his transformation into jail-breaking superman could stink of, well, poo. But Haggis handles it smartly. Firstly by pumping up the pace to such a degree, you barely get chance to say “hang on…?” Secondly by casting Crowe, whose acting chops lend weight to his character’s emotional stew making him appear human, not a shallow action cut-out. Thirdly, though Haggis bends reality he still clings to it with amusing persistence. How does Crowe learn the majority of his anti-jail skills? Youtube and google of course. A neat trick would have been to have him sit down and watch the first series of Prison Break, but maybe they didn’t have the rights…

Anyway, the pumped pace makes for an exhilarating film, with Crowe building a character you can genuinely care about and Haggis sticking him in situations that you can almost, sort of, believe. Plus he does hi-jinks while driving a Prius, which is always fun to watch. There’s a slight lag mid-way through when clichéd detectives are wheeled out, and the lack of time spent with imprisoned wifey means her no doubt harrowing experience – way worse than hubby out in the real world in his comfy house – is inconsequential as she becomes just a woman waiting to be rescued.

You can’t help but wish for a braver ending to give the film a more dramatic punch, but overall The Next Three Days is a fun and thrilling journey that doesn’t make you roll your eyes. Granted, if you had time to stop and really think about the plot it would no doubt turn out to be utterly unbelievable nonsense. But hats off to Haggis for burying that point in exciting chases. Three Days makes for an entertaining watch, and so gets the recommended CF0.

What happened to 2010...

Yeah yeah yeah, no reviews since April, no review of the year. Yada-ya. What are you going to do? Stop paying me? Exactly.

In brief - best film of 2010? Toy Story 3.

I saw others. They were good too.

That's the door shut on 2010. Sorry.