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Approval 97%
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Last Active 09-06-22 1:37 pm
Joined 09-24-05
Review Comments 7,283
| FILM: tectac's Darren Aronofsky, Ranked
A divisive director, and rightfully so. Admittedly, he's got some films I hate, but he's also got some films I love, though my personal of which are which tend to stray from the critical consensus. But such is the beauty of art, I guess. Either way, even when I hate an Aronofsky film, I'm never bored by it, and that goes a long way for credibility in my mind. | | 7 |  | Susanne Sundfor
Ten Love Songs
>> THE FOUNTAIN (2006)
Respect the audacity, but thatâs about as far as my praise extends. Not sure Aronofsky harnessed - at the time this was made - the amount of bravado required to execute this level of grandeur; a high-minded concept like this seems much more suited to the faculties of someone like Terrence Malick. The mesh of (intended) pathos and (intended) existential profundity falls short in both camps, especially when you consider that thereâs no logical (or theoretical) reason for this man to occupy three drastically different time periods, other than maybe giving Aronofsky a reason to make superficial âconnectionsâ later-on, under the pretense that interweaving narrative strands equals acuity. There isnât much fervor to it, and the product is self-important (and self-conscious) nothingness. Lots of glitz and glamour that left me feeling exhausted, not enlightened. Certainly doesnât help that I canât stand Jackman and his inability to drum up palpable emotion of any sort. | | 6 |  | The National
High Violet
>> REQUIEM FOR A DREAM (2000)
All in all, just a bit âtoo muchâ for my tastesâtoo much overacting, too much excessive gesturing, too much of the pseudo-inebriated formalism, too many unbearably pointed musical cues, too many montagesâand the pared-down, overarching condemnation of drug use and addiction makes for an experience both joyless and predictable. As a completely visceral exercise, it works in a âI never want to watch this againâ type of way; the thing is, you never want to watch it again. Even grueling, emotionally grim films like e.g. COME AND SEE or DANCER IN THE DARK, I occasionally yearn to revisit; Iâd be okay never seeing REQUIEM againânot because itâs so depressing that my nervous centers canât handle it, but because thereâs nothing of interest beyond its bleak complex. It exists almost solely as a pit of disenchantment and little else. If I wanted to experience that kind of guttural melancholia with such little artistic achievement, Iâd browse my old Facebook posts. | | 5 |  | Swans
My Father Will Guide Me Up a Rope to the Sky
>> THE WRESTLER (2008)
Another exhibit of Aronofskyâs predilection for antiheroes with quavering mental stability, guided gracefully by a career-best performance from Rourke. (His sub-venture as a meat counter employee is especially revealing/touching for all the right reasons.) Iâm mostly turned off by the estranged daughter stuff; I understand its purpose to further emphasize Rourkeâs unabated commitment to his craft, but its an obvious attempt to highball us with pity, empathy, and disgust, elapsing way too quickly to feel organic, capped off with the most overused âbreaking a promise to be thereâ trope that cinema has ever known. Ending is comparatively cheesy to something like BLACK SWAN, but the cerebral cataclysm is still evident. It devolves not into a sappy story of redemption (thankfully), but something much more self-centered, narcissistic, and lonely. Something Bukowski would write a poem about. (Oh, I guess he already did: "Find what you love and let it kill you.â) | | 4 |  | Can
Future Days
>> NOAH (2014)
Was never sure why this film got everyone all up in arms and instantly ready to join the choirs lamenting how putrid and terrible it was, all but calling for Aronofsky at the stake. (Take a look at online score: IMDb, Letterboxd, Metacritic, etc., and youâll arrive to the same conclusion: Abysmal.) This really ainât bad, and thatâs coming from an adamant atheist. (And non-religious people who baselessly dismiss films due to their supposedly religious foundations make me cringe.) Sure, itâs hardly an âAronofsky Filmâ by his usual standards - this feels like something Ridley Scott wouldâve made in the mid-aughts - checking many of the usual boxes for blockbuster period pieces, but it still posits an interesting view of The Rebellious vs. The Obedient, and how the blind devoutness of the latter can make them nearly as cancerous as the former (a sentiment that can be applied outside of solely religion). Some bad CGI and melodrama aside, I dub thee a decent âactionâ film. | | 3 |  | Isis
Panopticon
>> PI (1998)
Aronofksy is no stranger to psychosis-ridden protagonists, and that mĂ©tier extends all the way back to his first feature film, which plays out like a nightmarish crosspollination of ERASERHEAD and BARTON FINKânot at as narratively obscure as the former, a bit more surrealist than the latter, and every bit as dismal and heady as that hybridization sounds. The gritty black-and-white was apparently unavoidable due to budgetary constraints, but if anything it helps achieve a gothic tenderness that cascades over Maxâs entire life and tosses the audience into the same macabre headspace. The engineer/mathematical nerd in me was hoping for a bigger payoff re the various numbers and patterns as applied to nature, but the film isnât so much about 3.14 or the Golden Ratio as it is the madness encumbered from the fruitless search for something that may or may not exist. The boundaries are blurred elegantly between ârealityâ and the constant decomposition of Maxâs psyche. | | 2 |  | Great Grandpa
Four of Arrows
>> BLACK SWAN (2010)
I laugh at the number of women who dismissed this for the lesbian scene and the men who dismissed it on the pretense that it was a âballet film.â Ballet and lesbian attraction are to this film what boxing was to RAGING BULLâmerely catalytic mediums that play host to the *real* theme: Mental entropy. The âwhite swanâ role analogous to Ninaâs adolescence and how she clings to it like static, the âblack swanâ representing her baleful and haphazard ascent into maturity and all the psychosomatic dread that accompanies it. The text plays like a documentary of obsession i.e., the relentless (and endless) strive for perfection. (People love to namedrop WHIPLASH as the model for this theme, but BLACK SWAN did it four years earlierâŠand to a much more harrowing degree.) Gets a little overzealous with the grotesquerie at times, but the subtler declinations of psychosis are brilliant. Every time I revisit this, I notice details I hadnât before: The gift that keeps on giving. | | 1 |  | Arcade Fire
Funeral
>> MOTHER! (2017)
Easily Darrenâs greatest achievement thus far, and still standing strong as my favorite Film of 2017. Donât let the ostensible biblical text - which, to my mind, is nothing but a mere smokescreen - subtract you from the surface level pleasures of this claustrophobic, Buñuelian descent into madness. I wrote thousands of words on the various âreadingsâ you could herald from this metaphorical beast, but I donât love it for its supposed depth or allegorical register. I love it because it slowly ratchets you up a hill - like an old, wooden rollercoaster thatâs seen better days - at a snailâs pace, seemingly forever, before suddenly heaving you over the edge and letting you plunge thousands of feet through the endless pit of hell, only getting weirder and infinitely more morbid the farther down you go. Itâs a fucking nightmare, basically, starting as one derived from social anxiety and ending as one rooted in a catastrophic collapse of sanity. Wonderful piece of work. | |
tectactoe
10.30.19 | At the request of a few peeps. Let's discuss, cine-buds. | fogza
10.30.19 | Pi is his best. The rest I do not care for (requiem and the wrestler were ok), hence me not watching Mother. | grannypantys
10.30.19 | liked Pi a lot and the wrestler but not really any of the others. With a few changes Black Swan could have been up there as well. | tectactoe
10.30.19 | fogza, I hesitate to say that you'll 'enjoy' MOTHER! but if it's any consolation, it's pretty unlike anything he's done before it. | fogza
10.30.19 | Yeah I think I was so put off by Black Swan and Noah that it's hard for me to be objective about his work anymore. | Deviant.
10.30.19 | Couldn't appreciate mother! outside of its commendable technical achievements. The film's internal logic only works as an allegory. Without it, it's simply nothing. Which is obviously the point of the film, but I'm personally just not a fan of that style of narrative though. Arronofsky clearly took some cues from Russian Ark, and Lawrence does a fairly commendable job given that all of her direction for the last 20 or so minutes would have amounted to simply "react to all of the crazy".
I remember appreciating The Fountain when it first came out, but I haven't seen it in years. Always wished that he had found the resources to make his original vision. Which I don't think would have changed your opinion of it, given what didn't work for you, but it would have been interesting in hindsight. | Relinquished
10.30.19 | hold up what the fuck deviant | Deviant.
10.30.19 | Old news man, where you been? | Relinquished
10.30.19 | I've been taking over the electronic advertising in your absence motherfucker | Deviant.
10.30.19 | Meshuggah put out a techno album?? | Relinquished
10.30.19 | hahahaha goddamn | DamnVanne
10.30.19 | I think I would support this more if it was read backwards. The Fountain is wonderful aside from being about 35 minutes too long, I donât need to see Requiem ever again but itâs one of the most powerful films Iâve seen on top of being a triumph of cinematography. I agree with what Deviant said about Mother!, it doesnât have much life outside of its (awkwardly transparent) allegory and Noah is so dumb I donât know how Darren even releases it. The Wrestler is sublime and Black Swan was enjoyable but ultimately forgettable. Itâs hard to say much about Pi, but Iâll confirm that I havenât seen it for the last time | tectactoe
10.30.19 | Like I said about MOTHER!, I think the religious allegory is a smokescreen (if you continue to draw biblical parallels, you'll eventually see that not everything has analogous meaning, and things start getting hairy). You could apply the template to anything e.g. an artist, his work of art, the destruction that happens during the creative process, the way critics and society scrutinize it, etc.
Beyond that, though, I still think it works on a purely superficial register, an isolated surrealist nightmare that slowly cranks up the tension and then goes free-fall into the catastrophic final half-hour. | Josh D.
10.30.19 | I thought the negative reaction to Mother! was interesting, in large part due to the fact that I wouldn't have recognized the biblical subtext unless I read about the movie while watching it (I do that often to make sure I don't miss small things). And then while watching it, I was like "oh yeah, I see it, I get it".
But from a film making standpoint, I thought it was good. Like the scale and scope of everything when it really starts to get insane, it's like a waking hallucination. | JoeTex
10.30.19 | ram jam | Chortles
10.30.19 | Good stuff, good writeups. I've still only seen Black Swan and mother but I love them both. I also think the hate for mother is interesting... I understand hating it based on the fact that whatever allegory you choose for it is purely presented as text as opposed to subtext, but I dunno.... that's fine with me? Like you I'm much more interested in the sensory experience of just being trapped in the nightmare Aronofsky creates which I think is so palpable and thrilling. I've had so many dreams that involve trying to get uninvited fuckers to leave my house and I always wake up in a panic. Relatable | Sinternet
10.30.19 | requiem for a dream is classic in every sense of the word | Rik VII
10.30.19 | Gotta disagree with your stance on The Fountain, which I still think is one of the most misunderstood and misinterpreted films ever. SPOILERS for the rest of this paragraph: There's this common misconception that the film is about the same people existing at different times in the same world (like some Cloud Atlas stuff), while the film actually explains what's going on pretty explicitly. He's not in different time periods - the different versions of him - the modern and the medieval one - are in (the film's) reality, and in the book that his wife wrote, respectively. Then the third version of him (the futuristic one) is the way he imagines the man in his wife's book evolving in the last chapter that she didn't get to write before her death. It doesn't make any sense how the book's character would get there, but that's not important to the protagonist (and by that point, writer), since he desperately tries to generate some way of dealing with death by having the protagonist just overcoming it out of nowhere.
I get that it's not a film for everyone, but ... people keep seeing strange things in it. Easily my favorite Aronofsky.
He's had his highs and lows, but I think most of the stuff he did is pretty good, while his highs could have been higher.
Noah is the only film of his that I hate. And that one is just disgustingly bad. Shit writing, bad characters in particular, and the actors don't know what the hell is going on either, or so it seems. It has like two or three scenes that are worth seeing (it should be obvious which ones), but aside form those - not better than all of the other blockbuster crap of this decade, in my opinion.
But oh well! Good write-ups anyway, disagreements notwithstanding! | tectactoe
10.30.19 | Fair analysis, Rik. THE FOUNTAIN is the film of his itâs been the longest since I last saw it (or REQUIEM, but both of them have been easily over six or seven years), so I canât directly retort on the specifics. Perhaps I owe it another viewing, I just vividly recall being so put-off by the superficial elements that I hadnât bothered looking much farther into it. Between the sixteenth-century Spanish Inquisitor, the rhesus macaque doctors, the cue-ball meditator trapped in an outer-space snow-globe, and Jackman rubbing pasty tree-sap into an open wound resulting in a spontaneous combustion of foliage that buries him beneath the ground, I couldnât engage with the film seriously. Iâd be anxious to see how Iâd react now, given your explanation. | Uzumaki
10.30.19 | Only one of his Iâve seen is âMother!â and appreciated the allegorical context to an extent. It felt slightly odd because of that allegorical bent though, and I didnât like it as much as I hoped. A friend of mine has repeatedly recommended âPiâ and âRequiem For A Dreamâ to me, and Iâll get around to them eventually. | Egarran
10.30.19 | 1 BLACK SWAN
2 THE WRESTLER
3 THE FOUNTAIN - I cried like a bitch
4 REQUIEM FOR A DREAM - I cringed like a soccer mom
5
6 PI - I saw this on a little old tv, without subtitles. Better go again soon.
7
8
9
10 NOAH - All cultural history aside, just a terrible movie.
Haven't seen Mother. | Slex
10.30.19 | 1. The Wrestler
2. Requiem For A Dream
3. Black Swan
Oh my god I hate Mother so so so so much | JeetJeet
10.30.19 | Bruh. You are real as fuck for having Black Swan & Mother as top 2. | Rik VII
10.30.19 | @tec: I completely understand why all that spectacle would be off-putting. It's certainly pretentious and silly (but that hasn't stopped me other times), that's just the nature of the film and I definitely see how it would be polarizing. It's also really sappy, which I don't mind as much if done in a certain way. So yeah. But I wouldn't call what I wrote an analysis, because it's basically what the film shows and tells. Yet I always read stuff about resurrection, reincarnation, hell even freaking time travel - maybe it's not as obvious as I felt it was when watching it. But like I said, misunderstood movie, but even if it was understood "better", it would still be divisive. It's just ... that kind of movie. Even more so than his other ones, I think.
My ranking would be like this:
1. The Fountain
2. Black Swan
3. Wrestler (although very close to the 2)
4. Requiem for a Dream
5. Pi
6. mother! (I think I got into this one once before on one of your lists? Anyway, I felt the allegorical stuff was really forced, it felt like a checklist of biblical stuff)
......... a lot of space here
7. Noah | fogza
10.31.19 | Can't believe Black swan got so much love. It's basically Pi meets the piano teacher meets centre stage. | fogza
10.31.19 | Except the piano teacher was complex, well acted and actually disturbing. | budgie
10.31.19 | are you guys talking about black swan the movie? | Jasdevi087
10.31.19 | Deviant. returns to deliver the correct opinion on Mother! godbless | neekafat
10.31.19 | top 2 are top 2, I really like the Fountain tho... | Jasdevi087
10.31.19 | Requiem for a Dream would be so much better if Jared Leto wasn't such a shit actor, maybe one less double ended dildo scene too | fogza
10.31.19 | Lol budgie, yep it's film club time. | Trophycase
10.31.19 | See my list for the correct ranking people | Trophycase
10.31.19 | Mother! is fucking amazing though. But the Fountain is just criminally low man, sounds like you just didn't get it, no offense.
"no logical (or theoretical) reason for this man to occupy three drastically different time periods, other than maybe giving Aronofsky a reason to make superficial âconnectionsâ later-on"
It doesn't "span 3 time periods" as you say, really. The conquistador stuff is what's happening inside the book, while the space bubble stuff is a metaphor for Jackman's journey to acceptance of death. It's just a dramatization of his psyche, with his wife being represented by the tree, but simultaneously representing his fear of death and giving in to its inevitability. | CaliggyJack
10.31.19 | Can't disagree enough here...
7. Requiem for a Dream
6. Mother
5. Black Swan
4. Pi
3. The Fountain
2. The Wrestler
1. Noah | Trophycase
10.31.19 | Oh I see this was already slightly explained by someone else | Larkinhill
10.31.19 | Dude, this is almost the exact opposite of what mine would look like. The Fountain is NOT his worst film lol. Probably Pi or Noah (both are still really good though).
In what world is Noah better than Requiem, The Fountain AND The Wrestler? Those in fact are prob my top 3 DA movies. Agree to disagree but this misses the mark for me man. | Larkinhill
10.31.19 | requiem for a dream is classic in every sense of the word (2) | Trophycase
10.31.19 | Eh, requiem is a bit overrated in my book. Still great though | Larkinhill
10.31.19 | Didnât mean to sound dismissive though brother, you know I always love reading your lists. Now, I guess I need to list mine:
Requiem (one of my all time favorites)
The Wrestler
Black Swan
The Fountain
Mother
Noah
Pi
But even the bottom few are still very good. Darren is one of my favorite currently working directors. | tectactoe
10.31.19 | Don't apologize or worry! I intend for these to spark some discussion, and thoughtful disagreement always makes for better an more thought-provoking conversation.
To clarify about THE FOUNTAIN stuff - when I said "...occupy three drastically different time periods...", I didn't mean it in a literal, 2001: SPACE ODYSSEY continuum kind of way, I'm merely describing the ostensible narrative.
What Trophy said:
'It's just a dramatization of his psyche, with his wife being represented by the tree, but simultaneously representing his fear of death and giving in to its inevitability.'
Is pretty much how I remember it. I honestly don't recall the narrative device about the book/novel or whatever, but that above sentence was my grand takeaway from the whole thing, which....so what? That's dismissive, I know, you can say 'so what' about a lot of films, but to have a concept so abstract and theoretical (not to mention metaphysical), you have to have a formalism to aggrandize it, not bury it. Obviously *that* bit is highly, highly subjective, to which many of you (rightfully) enjoy. I'm simply didn't take to it. That's why I likened this broad, life-affirming concept to something more suited to Malick - I don't much care for his last few films, either, but he at least as a style of filmmaking that to my mind better suits material of this kind.
Looking at my never ending excel log, though, the first (and only) time I saw THE FOUNTAIN was in 2010, four days before I saw BLACK SWAN for the first time. (Prepping for his latest at the time, I guess.) Also, funny enough, I had watched (for the first time) VÄra ChytilovĂĄ's DAISIES and Parajanov's THE COLOR OF POMEGRANATES the previous week - other films I admire but frankly cannot stand. Perhaps by that point I was fed up with gaudy, pseudo-cryptic formalism. Needless to say, my memory of the specifics are foggy and I'd likely have a different reaction to the film were I to watch it now; better or worse, I cannot say. | Pheromone
10.31.19 | I agree with you for the most part in regards to Requiem. I love the soundtrack, though. I really enjoyed it when I watched it first, but I was around 12/13 at the time and that ending sequence blew my mind - but then, every time I've watched it since it has bored the fuck out of me. I've never seen Mother and I'll probably get to it eventually. Did you ever do a Sergio Leone ranking? At least it wouldn't take too long. I ask because I watched Once Upon A Time through yesterday and am pre interested in knowing your thoughts on it. | tectactoe
10.31.19 | I haven't posted a Sergio ranking here, but I could definitely do him next. Funny you mention that, I often put him in my Top 3 Directors all time (next to, probably, Luis Buñuel and Tsai Ming-liang); even given his relatively small (and largely specific) output, I adore all of his movies and think he was quite literally the greatest at what he did - not to mention he revitalized and redefined an entire genre that was all but dying by the mid-60s. So I'd be glad to make him the next in line for lists.
'I ask because I watched Once Upon A Time through yesterday'
IN THE WEST or IN AMERICA? They're both great but now I'm curious as to which one you watched, haha. | Pheromone
10.31.19 | haha, America. I've never fallen in love with any of his films unfortunately (though have never not liked any of them either) - Once Upon a Time In America did so so so much that I loved (that aged transition in the station / the ending), but there was simultaneously so much that I either found uncomfortable (you know), or that just didn't blow me away. It's the most conflicted I've felt about a film in a long time. | tectactoe
10.31.19 | Cool. And fair enough, his films are similar such that if you don't like one, you probably won't love any. (Conversely, if you love one...) And yeah, *that* scene is definitely one of the most uncomfortable of its kind. Just to be sure - did you watch the 227 minute cut? Apparently there's a "theatrical"/"Americanized" version that's chopped down to a measly two hours or something. I've not seen it myself, but the word is that it's horrid compared to the four hour version, which is much closer to Leone's vision, obviously. I think the Blu-Ray only contains the longer cut IIRC, but I'm not sure how/where you saw it. | Pheromone
10.31.19 | Don't worry, I'd never have watched the shorter cut. I can't even imagine how they would have shortened it, though it was something like 8 hours originally so I guess they were pros by the time. | Egarran
10.31.19 | So I'm the only one who shed a tear to The Fountain? | tectactoe
10.31.19 | I may have shed a tear due to the internal pain it was causing me. Does that count?
(Pls don't kill me Rik & Trophy) | Egarran
10.31.19 | Nah it just means you're a sociopath! | Trophycase
10.31.19 | Bruh I couldn't stop cryin | Egarran
10.31.19 | *brohug* | tectactoe
10.31.19 | At least we can all agree that the ending of BLACK SWAN is perfect (thus making it a perfect if somewhat wanky meta-assessment - though I'm sure that wasn't intentional). | fogza
11.01.19 | As usual, I don't agree. But when she turned into the Black swan, it was visually impressive. | ramon.
11.01.19 | this is shockingly similar to my own list. super happy to see mother! at 1 and noah at 4 | Winesburgohio
11.01.19 | some more kino quinoa salad from the master excellent. i don't really want to analyse mother! because i had so much fun watching something so (alarming alliteration ahoy) audacious and ambiguously allegorical and immersive but i've always wanted to delve into it from a post-colonial lens just haven't had time hmm maybe tonight's the night.
Pi is spectacularly under-rated in my view; such an assured, measured debut | Lord(e)Po)))ts
11.01.19 | The fountain is such a piece of shit | Winesburgohio
11.01.19 | also thanks tec, sweet jesus Daisies is insufferable | Lord(e)Po)))ts
11.01.19 | Havent seen noah or the wrestler otherwise I agree with ranking 100% | Lord(e)Po)))ts
11.01.19 | Also agreed fuck Jackman | Winesburgohio
11.01.19 | Winesburgs movie posters anecdote #2: I had the Black Swan poster w the sinister daguerreotype of Natalie Portman's unflinching gaze staring at my bed until my partner told me to take it down for some reason??? in a box now but i'm going to find it and put it back up, fuck i love that movie (although I think the constant mirroring motif was a little overdone/obvious) | Egarran
11.01.19 | She's still looking at you from the box. | Lord(e)Po)))ts
11.01.19 | All I've ever wanted is natalie portman to stare at me during sex | Egarran
11.01.19 | Hope all Portman fans watched Closer.
Anna (This is J. Roberts tho but a classic dialogue.): We do everything that people who have sex do!
Larry: Do you enjoy sucking him off?
Anna: Yes!
Larry: You like his cock?
Anna: I love it!
Larry: You like him coming in your face?
Anna: Yes!
Larry: What does it taste like?
Anna: It tastes like you but sweeter!
Larry: That's the spirit. Thank you. Thank you for your honesty. Now fuck off and die, you fucked up slag. | tectactoe
11.01.19 | Wines- thatâs a badass poster (I know the one). You need to find it and put it back in its rightful place on your wall.
For maybe the first time ever, Potts and I are in full agreement on something :D | fogza
11.01.19 | I want a poster of Portman and Christensen from Star Wars. Should help me get to sleep. | Larkinhill
11.01.19 | Eg â hell yeah, Closer is a great film. One of Portmanâs best performances. I know she was nominated for an Oscar, May have even won it that year. | tectactoe
11.01.19 | Havenât seen CLOSER, always thought it looked kinda ass tbh | Faraudo
11.01.19 | Mother! is most definitely his #1. | Ryus
11.01.19 | 2 is 1. amazing movie | Egarran
11.01.19 | Closer is definitely almost sort of ass, but there are redeeming features. | JoeTex
11.01.19 | tomei lookin good | Larkinhill
11.01.19 | Closer is solid, you should check it tectactoe. | tectactoe
11.01.19 | Maybe I will sometime. Iâm also just realizing now Iâve only ever seen two Mike Nichols films (THE GRADUATE and VIRGINIA WOOLF). | JoeTex
11.01.19 | recently watched that virginia woolfe. dang liz going bonkos | Winesburgohio
11.03.19 | consider: The Wrestler > Black Swan > mother! > Pi > Requiem > The Fountain > a zombie film I made with friends at 12 years old > Noah | Ryus
11.03.19 | switch black swan and the wrestler for me even though theyre both awesome | Winesburgohio
11.03.19 | Brutally unsentimental (anti-sentimental) yields unexpected poignancy in TW, gravitas in black swan but shit: I'm more invested in emotion | Winesburgohio
11.03.19 | Very glad you enjoyed my early work Ryus, thought the spaghetti as guts was a nice touch | hal1ax
11.03.19 | ugh i love Pi, and still have yet to check Mother! This list was the push i needed to dload | fogza
11.03.19 | Closer is good. It's probably the only movie I've seen with Portman in which I think her performance works. | Trophycase
11.03.19 | Eh, IMO the Wrestler is just a better version of Black Swan. Not exactly the same but I find they are pretty similar | Rik VII
11.03.19 | Aronofsky conceptualized them as two sides of a coin, male and female, sports and arts, etc. So that's intentional, and it's cool that it shows
Regarding Portman, her best performance is The Professional for sure (which is also, bizarrely, her first) | tectactoe
11.03.19 | Yes, that's one of the unusually good child performances of all time, and one that she would sadly (strangely?) never be able to replicate. |
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