30 Day Movie Meme: Day 18

Day 18: CHARACTER(S) YOU RELATE TO


I've really slacked on this 30 Day Movie Meme, but I haven't completely forgotten it! It will get done one of these days. When I saw what the topic was for Day 18 I knew, instantly, which two characters I'd write about.


Josephine "Jo" March is based on the character from Louisa May Alcott's classic novel, Little Women. My favourite film adaptation is the 1949 version starring June Allyson as Jo (it also featured Elizabeth Taylor as bratty Amy and Janet Leigh as the maternal Meg). More than Winona Ryder (in 1994) and more than even Katherine Hepburn (in 1933), Allyson captured the essence of Jo March -- that vibrant, tomboyish, larger-than-life young woman whose only disadvantage seemed to be that she was born in the wrong time period (the film is set in the mid- to late- 19th-century). I can completely relate to Jo's more obvious character traits and personal passions. I can relate to her loud voice, coarse language and her embarrassing foot-in-mouth moments. 

I can also relate to her tendency to sob like a baby while reading a sad piece of literature, her passion for writing and becoming a published author, her outlandish imagination, her drama (she secretly desires to be an actress) and her desire to travel and see the world, even if it means leaving behind her beloved home and family. I can even sympathize with her awkward position with Laurie, a man who cares dearly for her but for whom she only views as a close friend. Even her back and forth indecision as to the appealing (or unappealing) prospects of getting married one day is something I can identify with myself. I love watching this film (I usually try to watch it at least once a year) because it makes me laugh to watch hyper-active, emotionally over-the-top Jo try to figure out what she wants out of life, usually using her charming and romantic rhetoric. In the end, she winds up a published author, has her own independence and falls in love with a handsome older German professor she met while living on her own ...that would be nice. 

Charlotte is Sophia Coppola's main female lead in her 2003 film, Lost in Translation. Played by Scarlett Johansson in her breakout role, Charlotte is in Tokyo while her photographer husband is off on a shoot. Having accompanied him to Japan, Charlotte finds herself rethinking the decisions that got her to this point in her young life. Along the way she develops a close bond with an aging actor, played by Bill Murray. The two of them, together, reconnect with the world outside their own personal problems. 


I love Sophia Coppola, mainly for making this film and creating the characters of Charlotte and Bob Harris. Her keen intuition and her complete understanding of how real characters should be written is sharply felt in this film. 

For everything energetic Jo March is, I can relate to some of Charlotte's much quieter attributes. I can relate to her restlessness at growing older. I can understand that disparity between being young but, for some reason, feeling a lot older than I should feel. I understand that curse of overanalyzing everything and rethinking past decisions. I too can be moody and have the tendency to make snap judgements of people of whom I know nothing about. I've travelled on my own before and, in general, I prefer it because you learn a lot about yourself when you are completely alone in a foreign country. You have to force yourself to interact with people you otherwise would never have said a word to had you been with a companion you knew. You get to appreciate the finer things when you don't have anyone else around to distract you. That being said, it can be lonely and a little frightening at times but, ultimately, always worth it for the people you meet and the experiences you take back home with you. Even though Charlotte is technically in Japan with her husband, he's not really around, so she's left to her own resources. 


But, more than anything else, she just wants to connect with someone on a deeper level and have a good time while doing it. But, then again, don't we all?

Classic Film Review: An Affair To Remember

An Affair To Remember (1957) 
Starring: Cary Grant and Deborah Kerr
Directed By: Leo McCarey

"Winter must be cold for those with no warm memories ...we've already missed the spring."
~Terry McKay (Deborah Kerr)~

I'm not usually one to fall for films that come under the genre of romance. Of course, I have my exceptions; it's just that I find the large majority of the ones I've seen to be too sappy and saccharin for my taste. I like a dose of sour with my sweet. If I'm going to watch a film about romance, I prefer mine with a dose of reality.

An Affair To Remember is one of those exceptions, thanks in large part to its two lead actors. If any romance could carry me away on the wave of a gooey love affair, this would be the one. The film is, essentially, the original tearjerker romance that set the tone for the films of that genre that we see today.

Nicky Ferrante (Cary Grant) is a rich and handsome playboy who has everything handed to him on a silver platter. He is constantly surrounded by women who want to be with him and men who want to be him. Although engaged to an heiress, Ferrante travels to Europe alone for a trip. On his return ocean cruise that is bound for New York, Nicky meets nightclub singer Terry McKay (Deborah Kerr). Over the course of a few days, the two fall in love despite the fact that both are in long-term relationships back home. They struggle to keep their clandestine affair a secret but soon the whole ship finds out and the two fear the news may be discovered by their significant others' back home in New York. Before parting ways, the two agree that, if they both still have strong feelings for one another in six months time, they will meet at the top of the Empire State Building. However, a tragedy prevents them from reuniting and the two are left wondering if they will ever see each other again.

The chemistry between Grant and Kerr is undeniable -- the two flirt and fight with equally charming zeal. Whether playing coy with one another or openly professing their love, they make the viewer believe that these two wealthy people truly could fall in love as quickly as they did. Their initial denial of their feelings for one another only makes their attraction stronger. Grant and Kerr were both seasoned British actors; however, their inability to mask their natural accents while playing Americans was, at times, a little distracting. But, outside of that one (minor) issue, the film revolves around Nicky and Terry and the lovely performances of Grant and Kerr.

I found the film to be a series of highs and lows in terms of plotting. Despite its charming stars, An Affair To Remember is a little structurally uneven at points. For every lovely scene of character development (such as the wonderful extended scene where Nicky takes Terry to meet his sick grandmother) there is a distractingly unnecessary scene (the entire song and dance routine performed by the children that Terry teaches). The first half of the film is flirty and fun -- it's so enjoyable to watch Nicky and Terry get to know one another and struggle to keep their growing affection a secret from the gossip-seeking people aboard the ship. The film lags a bit in the second half when the two of them are separated. The script isn't strong enough to sustain the film if the two lead actors are apart. However, if nothing else, it does put the viewer on edge because we can't wait for the two of them to meet up again after so much time has passed.

The tragedy that prevents Nicky and Terry from meeting again six months after separating is exactly what you'd expect from those cliched romance films that insist on piling on the pain and strain of its two lovers. Back in 1957 I can see how this tragedy could have gripped an audience; however, watching it in 2011 is a little different. We've seen this plot device run into the ground -- a weak (although usually successful) attempt to manipulate audience emotion. Therefore, I had to try and watch it as though it were 1957, but the 2011 movie watcher in me rolled my eyes a little at the drama of it all. I found other moments in the film (such as that aforementioned scene with the grandmother) much more emotionally effective than the contrived tragedy that keeps Nicky and Terry apart.

However, something happens in the end to change the eye-rolling back into a genuine love for the film: Grant and Kerr make their final scene with one another work so well that you forget about the soggy, emotional drama that pulled them apart in the first place and just rejoice in the fact that you get to see them share the screen again. That type of magic doesn't happen in every film. The combination of talented actors and their natural chemistry with one another is what helps raise An Affair To Remember above and beyond your average, mediocre romantic film. As a result, it deserves its place as a Hollywood classic and not only for the influence it had on the romance genre, in general.

This is one of those "golden oldies" I really enjoyed, although I wouldn't list it amongst my overall absolute favourites.

FINAL GRADE: B+

Movie Review: The Fighter

The Fighter (2010)
Starring: Mark Wahlberg, Christian Bale, Amy Adams and Melissa Leo
Directed By: David O. Russell

The title suggests there is only one fighter, but David O. Russell's film is centred on two brawlers -- one an up-and-coming star, the other a crack-addicted one-hit wonder. Most will understandably assume it's Mark Wahlberg's Mickey Ward who is the fighter of the title; however, it could just as easily refer to Christian Bale's Dickie Eklund, who must battle his demons to regain the respect he lost when he became a drug addict and faded from the boxing scene.

Based on a true story, the film is set in 1993 when Mickey is on the verge of becoming a boxing superstar in his own right. Holding him back is his manager mother, Alice (Melissa Leo), and his half-brother, Dickie, who enter Mickey into mismatched bouts that bring more physical pain than career gain. Dickie famously beat Sugar Ray Leonard in a 1978 fight that, even in 1993, remained controversial. Did Dickie actually outbox his famous opponent or did Sugar Ray simply trip and lose his footing? Still remembered as "the Pride of Lowell," the now-drug addled Dickie relives his brief former glory through his younger brother's rising star. It isn't until Mickey meets feisty bartender, Charlene (Amy Adams), that he begins to question whether or not his family might be toxic and preventing him from reaching his full potential.

This is Wahlberg's third go-around with director Russell (following 1999's Three Kings  and 2004's I Heart Huckabees). Wahlberg, a dependable actor, does his best work with Russell. However, both actor and director are aware of the talented cast around them and, instead of Wahlberg going all out in the drama department, they let the supporting cast shine through. The story may be about Mickey, but he faces stiff competition from the fascinating slew of characters that walk in and out of his life.

Christian Bale leads the pack of supporting characters with his shocking physical and emotional transformation into Dickie Eklund. Bale lost an incredible amount of weight (although, it should be noted, not as much as he lost in 2004's The Machinist). He also thinned his hair (complete with bald spots) and dirtied his teeth to fully embody a man who still fancies himself the town's celebrity figure. His crack addiction is the worst-kept secret in the neighbourhood, but there's no denying the talent he once had, which is still evident as he trains his brother, Mickey. Dickie is both comic relief and a tragic character. Bale is almost scary-good with his black-rimmed and haunted eyes. You forget he's Christian Bale. His complete transformation into his role is admirable when compared to other actors who simply phone in their performances. Say what you will about Bale and his hot-headed temper, but the man is a genuine artist and he just might finally get that elusive Oscar this year.

In a handful of boxing movies, the women play background characters: The Girlfriend. The Wife. The Mother. While relegated to the background, they show up only to provide brief emotional support or get punched around themselves. Films about boxing tend to only be about men. In The Fighter, the women are just as strong, fascinating and hardened as their male counterparts.

Amy Adams once again proves that, if she stays away from lame rom-coms, she can be an exceptional actress. Her role as Charlene is strong and fierce; she's not a woman to be messed with and she wants nothing but the best for Mickey, even if that means convincing him to detach himself from his family. Her violent physical tilts and war of words with Micky's mother and seven sisters make for some of the best scenes in the film. She might be heading towards yet another Oscar nomination this year. In a recent interview with David Letterman, both Dustin Hoffman and Robert DeNiro cited her as their favourite young actress working today. With friends like that in her corner, Adams should remain focused on starring in well-made cinematic gems.

Last, but not least, Melissa Leo is trashy and fabulous as Mickey's mother, Alice. With her horrifically permed and bleached hair, constant chain-smoking and stiletto heels, she's a force to be reckoned with and she doesn't let anyone forget that her two sons are her main source of pride and joy. Bale, Adams and Leo are all nominated for Screen Actors Guild Awards and Oscar kudos are likely to follow.

The camera work is exceptional: you are literally placed in the middle of both Mickey's battles inside and outside the ring. Whether it's a boxing match against a formidable foe or a verbal battle with his head-strong mother, the camera chronicles the events as though recording a documentary. You feel every punch and every verbal blow.

FINAL GRADE: B+

Movie Review: True Grit

True Grit (2010)
Starring: Hailee Steinfeld, Jeff Bridges, Matt Damon and Josh Brolin
Directed By: Joel & Ethan Coen

I've never had much interest in the Old West genre. There are, of course, a couple of exceptions (the main one being the 1989 miniseries, Lonesome Dove). I haven't read Charles Portis's novel, True Grit, nor have I seen the 1969 film adaptation starring John Wayne. I went to see the 2010 remake solely for the fact that it was directed by the Coen Brothers. I'd watch anything they directed (Fargo and No Country For Old Men are each one of the best films of the 1990s and 2000s, respectively). It goes without saying that I had high hopes for True Grit.


Fourteen-year-old Mattie Ross (Hailee Steinfeld) is on a mission to either kill or arrest Tom Chaney (Josh Brolin), the farmhand who murdered her father for $150 and a couple of gold coins back home in Arkansas. She enlists the help of Rooster Cogburn (Jeff Bridges), a gruff deputy marshal who is fond of the drink. Rooster has "true grit" a quality Mattie requires in the man she hires to go after her father's killer. Her only condition is that she be allowed to accompany Rooster on his quest for Chaney. Texas Ranger LaBoeuf (Matt Damon) is also hunting for Chaney for the murder of a senator, mainly because there is a large monetary award for the man who finds Chaney, dead or alive. Mattie, however, is adamant that Chaney should be brought to trial in Arkansas for her father's murder and not some dead senator. The unlikely threesome sets out from Fort Smith, each with their own personal motivations towards Chaney.

The Coens once again use cinematographer Roger Deakins to capture the dust and filth of life and travel in the America of the mid-1800s. Although not as visually beautiful as No Country For Old Men, Deakins and the Coens use muted colour tones and wide, panoramic shots of the land. It's visual storytelling at its finest: three characters dwarfed by both the land around them and the challenging task of bringing in Chaney.

This is probably the most un-Coen Brothers of their films. I had to keep reminding myself that it was their film. Their wicked sense of humour is absent (no scenes involving body parts protruding from wood chippers here). While there are light-hearted moments, it's obvious that the comedic scenes are lifted from the book and not from the minds of the Coens themselves. The plotting of the film is also much more concise. Not a lot of screen time is used in developing the relationships of the main characters. The reason the end result ultimately works so well is because of the performances of the three lead actors.

Bridges, fresh off his Oscar win last year for Crazy Heart, is at his finest. He's such a consistently excellent actor that he can make someone as gruff and coarse as Rooster a likeable, even sympathetic, unlikely hero. He nails both his dramatic and comedic scenes and his blossoming friendship with young Mattie is the heart and soul at the centre of the film.

Steinfeld is one of the finest young acting discoveries in recent memory. As Peter Howell said in his review of the film for the Toronto Star, "she's fourteen going on firecracker." In a role that could have easily turned into cringe-inducing precociousness in the hands of a lesser actress (or an actress who overplays her role in an attempt to be seen as "one of the grown-up" ...think Dakota Fanning), Steinfeld is a mature actress who understands her character is, ultimately, still a child. Although Mattie is well-educated and has an eviable whip-smart vocabulary, she's still a young girl with long braids mourning the death of her father. Steinfeld measures each emotion, allowing Mattie to have both "wise-beyond-her-years" moments as well as scenes where she shows Mattie's age by suddenly erupting in childish glee or wonder.

Bridges and Steinfeld are both wonderful and each has been courting (much deserved) Oscar buzz for their performances. However, upon leaving the film, it was Damon's role as LaBoeuf (pictured above left) that struck a cord. Here was a man who initially sneered at Mattie's insistence on joining in on the hunt for Chaney and who would punish her like the child she was when he felt she'd misbehaved. His derisive attitude towards her suggests the road travelling with him will likely be a long and unfortunate one for Mattie. However, the gradual friendship that grows between LaBoeuf and Mattie is almost as effective, if not moreso, than her relationship with Rooster. Mattie and LaBoeuf had to work harder for their mutual respect for one another and the chemistry between Damon and Steinfeld is palpable in every scene they share. I think I was most impressed by Damon's performance. He was playing against his usual type (no Jason Bourne-esque action sequences here) and his memorable and understated performance leaves the viewer wanting to know more about the mysterious LaBoeuf. Damon proved he is a damn fine actor, something we only previously caught glimpses of in the Bourne movies and in his underrated performance in The Talented Mr. Ripley. 


In the end, True Grit is a genuinely enjoyable film filled with great performances. Although not the Coen Brothers best effort, it's another solid piece of cinema to add to their filmography. The only two downsides to the film: (1) The concise storytelling didn't aways work in the Coen's favour as I wished we got to know at least a bit more about the three main characters and (2) the ending was so sudden and jarring to the point of being outright distracting and disappointing. The end of True Grit did not have the abrupt beauty and power of the final scene in No Country For Old Men. Instead (without giving any spoilers), it throws a bunch of information at the viewer than cues the end credits. I've always been a fan of "show, don't tell." However, if the director chooses not to let us see it (which is fine), than it would be better just to leave well enough alone (like in No Country).


FINAL GRADE: B+

Movie Review: The King's Speech

The King's Speech (2010)
Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter and Guy Pearce
Directed By: Tom Hooper

It has, arguably, been a slow year for film. Although there have been a few great ones along the way, I've found it tough to come up with a top ten list for the end of the year. Considering the Oscars will, yet again, announce 10 Best Picture nominees, a handful of those films will get in simply to fill out that list.

The King's Speech has had buzz surrounding it since its debut at the Toronto International Film Festival in September. The premise is simple enough and, on paper, doesn't sound like it would make for epic historical cinema.

Set in the late-1930s, with the ominous (and, at the time, largely misunderstood) rise of Nazism in the background, Prince Albert (Colin Firth) struggles to overcome a speech impediment he's had since childhood. His debilitating stammer has led to countless public embarrassments; however, a long line of "doctors" have been unable to find a cure. After the death of his father, George V (Michael Gambon) and the surprise abdication by his older brother, Edward VIII (Guy Pearce), Albert becomes King George VI and is thrust into the public domain at a time when Great Britain is on the brink of war and in need of leadership now more than ever. With the help of his wife, Elizabeth (Helena Bonham Carter), George finds a speech therapist from Australia named Lionel Logue (Geoffrey Rush), a man with a reputation for unorthodox treatment methods.

Who knew a film focused on the speech therapy of a now-deceased king could make for such compelling drama? Even I had my doubts, going into the film. I worried the film was all hype and wouldn't live up to all of its praise. I'm glad I was wrong.

With the advent of mass communication in the form of the radio, George is expected to rise to the challenge and lead his people, as a united force, against Nazism. This would be no easy task for anyone, experienced or not, let alone someone with a deathly fear of public speaking due to a seemingly incurable speech impediment. George's desire to no longer speak with a pronounced stammer becomes less about helping himself and more about having the clarity and strength to inspire his people into action. He's no longer simply trying to find his own voice, but that of his entire kingdom. When his daughter, Elizabeth, asks him what Hitler is saying in a rousing speech the Royal Family watches on a newsreel, George replies wistfully: "I don't know. But, he seems to be saying it rather well."

Firth is on a hot streak. With The King's Speech coming so soon after his heartbreaking and underrated performance in A Single Man (2009), he is one of the best actors working in the industry today. As George VI, his performance is subtly beautiful. A lesser actor would have chewed the scenery and over-embellished every emotion, yet Firth's polished and nuanced performance adds layers of emotion and character development with professional restraint. The man understands his character and how to properly portray a man on the brink. It is, without a doubt, the finest performance by a male actor this year. Firth makes George VI heroic and brave without simply playing off his disability. Firth works hard to earn the audience's sympathy to the point where, in the climactic speech at the conclusion of the film, you are on the edge of your seat as though watching an action thriller. The scene is so exciting because Firth made it so.

As Lionel, Rush is at his quirky best. He's such a fine actor that he does more than his share in a supporting performance. At times both hilarious and fiercely proud of his work in his field, Lionel provides friendship and emotional support to a king that experienced very little of either growing up. Like his character, Rush provides support for Firth as both Firth's acting equal and for his ability to allow (and help) Firth to shine. Rush's work in The King's Speech is the definition of a supporting performance.

The rest of the cast is just as stellar, with Bonham Carter, Pearce and Gambon all strong in their supporting roles. If nothing else, the film is a genuine performance piece with talent at every turn.

Director Tom Hooper (who last year helmed the wonderful and sadly underrated film, The Damned United) has done a wonderful job of making what could have been a dry concept and turning it into something fascinating. I especially admired the unique framing techniques. The camera had the tendency to be off centre, leaving ample head room above the actors as well as on one side. It gave the film an artistic, indie feel. Most costume dramas tend to focus on beautiful pastoral images to make up for the stuffy, routine indoor shots; however, Hooper and his camera crew gave it a fresh spin.

The King's Speech just might end up being the film to beat during the awards season.

FINAL GRADE: A

Movie Review: Tron: Legacy

Tron: Legacy (2010)
Starring: Jeff Bridges, Garrett Hedlund, Olivia Wilde, James Frain and Michael Sheen
Directed By: Joseph Kosinski

I had no idea what this film was about, going into it. I was coerced into seeing it. I wanted to see The Fighter, my friends voted for Tron: Legacy. It all came down to a vote and I lost.

The film was, according to my friends, a sequel to a trippy 1982 sci-fi adventure with a 20-something Jeff Bridges. I'd never heard of it. To me, the trailer for the sequel looked like a blue-hued version of Speed Racer. And, really, who actually liked (or even saw) Speed Racer?

However, sometimes going into a film you have absolutely zero desire to see can work to your advantage. I had no preconceived notions, no expectations. I couldn't have cared less whether Tron: Legacy was a great action sequel or a complete dud. Now that I've seen the film, I realize how hard it is to review. As my sister (and countless others) pointed out, critics should not attempt to review action films. But, I'll give it a go.

The premise (and I will try my best to get all the lingo right): Sam (Garrett Hedlund) is the son of Kevin Flynn (Jeff Bridges), a "virtual world designer" who went missing more than 20 years ago. During his renewed search for his father, Sam is accidentally pulled into the same computer world as his father. Sam encounters violent Programs, a sexy sidekick named Quorra (Olivia Wilde) and an evil (and younger) digital alter-ego creation of his father named Clu. Sam, his father and Quorra race across a virtual universe (the digital world is referred to as The Grid) in order to return to the real world after defeating Clu (a creepy CGI version of Bridges).

The film, like The Grid itself, is in a state of near-constant gamer warfare. As Clu schemes to steal Flynn's memory disc (something everyone in The Grid has strapped to their backs), he stages gladiator-esque duels between Programs. Clu's intention is to abandon The Grid and travel into the real world to kick human ass, with all of Flynn's genius creations (physically) in hand. Somewhere in the last 20 years, Flynn had lost his power to Clu, who lords over The Grid like an emperor while Flynn has retreated to a temple-like abode away from all the havoc.

Everything is coloured in cold (and eerie) shades of blue, black, white and the occasional orange. The visuals and animation are all excellent. Having computer programs fight one another, with the defeated ones crumbling out of existence, makes for entertaining action sequences. I can't recall having ever seen a film where computer programs faced off against one another by throwing memory discs at each other like Frisbees. My only major qualm, in terms of animation, was the horrible CGI face on Clu. Seeing a younger version of Bridges' face on another actor's body is unnerving and ridiculously phoney looking (and, considering the whole film is essentially CGI and special effects, it should have looked more realistic).

The film is, if nothing else, pure adrenaline. Granted, the premise is a little lacking (having a son go back to rescue his father has a very "been there-done that" quality to it) but many aspects of it still work as an action-packed sci-fi adventure. The cast plays a role in helping Tron: Legacy rise above other mundane films of the genre. Bridges is a great actor and, while this is far from his best work (hearing him say lines like, "You're messing with my Zen thing, man!" made me laugh for the wrong reasons), he seemed to be having a great time and that comes across to the audience. Hedlund and Wilde, on the other hand, are charming as Sam and Quorra, but there's not much else to say beyond that fact.

Two casting choices, in particular, surprised me. James Frain (as Clu's henchman, Jarvis) and Michael Sheen (as the all-knowing Castor) are two excellent English actors who have done much better work in much better films. Seeing Frain as a bald, silver-lipped computer program and Sheen (pictured above) as an all-white merry prankster who looks (and acts) like the love-child of David Bowie and Alex DeLarge (Malcolm McDowell) from A Clockwork Orange, was bizarre, to say the least. However, Sheen comes out as the stronger of the two, stealing all of his scenes from the other actors and providing much-needed comic relief. Even in a silly sci-fi movie, he's wonderful.

In the end, my favourite aspect of the film turned out to be the soundtrack, provided entirely by the French electronic duo, Daft Punk. I'm not, by any means, familiar with their work; however, in the context of this film, their musical creations worked perfectly. It added both an ominous and rave-like quality to action sequences that were already pretty trippy to begin with.

Overall, Tron:Legacy was a lot more enjoyable than I expected it to be. Granted, I know nothing about the original film, so I can't say whether or not it was a faithful sequel. It's one of those films where you leave the theatre thinking, "that was cool" before putting it out of your mind almost instantly. A part of me had fun while the other half still wished I'd seen The Fighter instead.

FINAL GRADE: B-

Black Swan (2010)

Starring: Natalie Portman, Vincent Cassel, Barbara Hershey, Mila Kunis and Winona Ryder

Directed By: Darren Aronofsky

We've seen films that have been focused on a protagonist's descent into madness before. But it's never been done quite like director Darren Aronofsky's film, Black Swan.

This was one of the few films I was excited about this year -- from the moment I first saw the trailer, I couldn't wait to see how the two duelling halves of a ballet dancer's mind would pan out under Aronofsky's direction. There's always this reluctance when I'm really excited about a film -- I always wonder if it will live up to the hype and the greatness of its trailer. Thankfully, Black Swan lives up to its rave critical reviews.

This is a very difficult movie to review without giving everything away. For a lack of a better word, the film is completely demented. It's bizarre, twisted, over-the-top and, at times, downright campy. That being said, I loved every minute of it. It's a breath of fresh air amidst the sequels, prequels and romcoms that usually fill the cinema's around this time of year.

What it all comes down to, though, is the performance by Natalie Portman. Without her, Black Swan would have lost a large portion of what makes it work so well. As young dancer, Nina, Portman is so convincing in her role that you literally feel you are witnessing an actual nervous breakdown. Nina works though her gruelling auditions in an attempt to convince both herself and her director, Thomas (Vincent Cassel), that she can convincingly portray both the ethereal and graceful white swan, Odette, and Odette's dark, sexual and possessive counterpart, Odile, the black swan, in the company's upcoming production of Swan Lake.

I've always found Portman to be a little hit or miss, as an actress. It's hard to believe the same woman who struggled through the Star Wars prequels is now the lead contender for Best Actress in this years Oscar race. Her delicate, innocent and almost childlike portrayal of Nina is heartbreaking as she awkwardly struggles to find her darker, sexualized self. Portman effectively portrays both the light and dark within Nina and, most surprisingly, does a lot of her own ballet dancing in the film. I have nothing but the utmost respect for actors who immerse themselves in research for their roles and it's clear that Portman spent a lot of time preparing for her greatest role yet.

Nina lives in a world of pink pyjamas and teddy bears (her mother, played by Barbara Hershey, still tucks her in at night) in an attempt to move past her dark past of bulimia and a scratching disorder. But with the mounting pressures of the upcoming Swan Lake production and the vicious taunting by Thomas, backup dancer Lily (Mila Kunis) and former ballet queen, Beth (Winona Ryder), results in Nina's violent, sexual and dark hallucinations. Her dark swan is struggling to break through it's pure white exterior.

The Toronto Star movie critic, Peter Howell, made a good point when he said that Aronofsky tends to take one intense main performance (as he did most recently with The Wrestler) and "frames it within an unyielding study of an obsessive pursuit."

The supporting cast holds up well considering the focus is almost entirely on Portman. I only wish we got to learn more about Cassel's Thomas in terms of his motivations and treatment of Nina.

Overall, this exciting and odd little film has not only one of the strongest female performances of the year but it's also visually beautiful and the dancing is incredible.

FINAL GRADE: A