Movie Review Jupiter Ascending

Jupiter Ascending (2015) 

Directed by The Wachowskis

Written by The Wachowskis

Starring Mila Kunis, Channing Tatum, Sean Bean, Eddie Redmayne, Tuppence Middleton

Release Date February 6th, 2015 

Published February 5th, 2015 

My cynical 30-something armor can no longer be pierced by the earnest arrows of the artist trapped in commercial hell. Yes, while there is a deep seated part of my soul that wishes for a day I could once again appreciate the trappings of those wounded souls willingly baring themselves before us, as they wring their hands over cashing studio checks but alas, it is for naught. I've been too ironically distanced from my own emotions for too long. 

It is, therefore, impossible for me to appreciate "Jupiter Ascending," the latest work of the wonderfully open and earnest Wachowski siblings. Like their previous effort, "Cloud Atlas," "Jupiter Ascending" is a daringly original piece that attempts to elevate pop to art via pop philosophy with a dash of liberal/progressive politicking. It's an effort I can admire but in a package I can't help but mock ceaselessly.

"Jupiter Ascending" stars Mila Kunis as Jupiter, a house cleaner by trade who happens to be the human replicant of a dead alien queen, destined to inherit the Earth. A mostly shirtless Channing Tatum plays Caine, Jupiter's wolf-like, Spock-eared protector in rocket boots. That's a literal translation of who these characters are and their relationship to one another. How am I expected to take this seriously? 

To be fair, Luke Skywalker was a descendant of an ancient race of spiritual ninjas who fights alongside robots, Wookies, and tiny aliens, but I find myself capable of loving the goofiness of "Star Wars." So why not love the goofiness of "Jupiter Ascending?" Maybe I've reached my “goofy” limit. Or maybe "Star Wars" is simply a superior effort from a more dedicated master of earnest goofiness. 

"Jupiter Ascending" grows only more goofy as it rolls along, picking up the story of three goofball villains. Brothers Titus (Douglas Booth) and Balem (Oscar nominee Eddie Redmayne) and sister Kalique (Tuppence Middleton) hope to trick or kill poor Jupiter in order to usurp her birthright as the owner-operator of the Earth. You see, kids, Earth is really just a farm for the universe, where people are cattle used as commodities to be harvested. If poor Jupiter can't stop them, the Earth becomes the beauty product equivalent of Soylent Green. 

One cannot help but admire the wont of the Wachowskis to create something wholly original. "Jupiter Ascending" is that rare breed of modern movie blockbuster that is not based on a comic book or a young-adult novel. The Wachowskis took great care to assemble this brand-new universe, and their dedication is admirable even as the product of that dedication is incredibly risible. 

"Jupiter Ascending" is not unlike the spiritual cousin of “Avatar,” another overly earnest attempt at pop politics. Like that monstrosity, "Jupiter Ascending" is a massive work of pop art that attempts to smuggle politics under the guise of science fiction. Unfortunately, the politics of both films are so obvious and under-cooked that even as I find myself agreeing with both films’ philosophies, I can't help but mock how simpleminded they both are. 

Modern progressives are growing more open and earnest with each new generation. This is both a blessing and a curse. It's a blessing in that stances in favor of the poor and those affected by the ills of discrimination now have vocal defenders. But it's also a curse as these most vocal progressives tend to run headlong into the buzz-saws of political commerce without the ironic armor that protected generations before. 

My generation wielded humor as a dangerous and divisive weapon against our political foes. We could swing the hammer of cynical humor at our earnest conservative opponents and expose their whiny cores in the process. The more earnest, modern progressive-liberals are far too quick to believe that their opponents can be reasoned with or shown the error of their ways via earnest conversation. This leads to movies like "Jupiter Ascending," where the progressive message is ladled heavily and humorlessly over easy-to-consume-and-destroy pop science fiction. 

For people like me, raised on the misanthropic, self-protective, liberal politics of the past, I feel the need to destroy "Jupiter Ascending" before my opponents get their hands on such an easy and shallow target.

Movie Review: The Spy Who Dumped Me

The Spy Who Dumped Me (2018) 

Directed by Susannah Fogel

Written by David Iserson, Susannah Fogel

Starring Mila Kunis, Kate McKinnon, Sam Heughan, Hasan Minaj, Justin Theroux

Release Date August 3rd, 2018

Published August 3rd, 2018

The Spy Who Dumped Me stars Mila Kunis as Audrey, an underachiever working a menial job and celebrating her 30th birthday. Audrey is sad about the state of her life, not just the job but also her now ex-boyfriend, Drew (Justin Theroux), who dumped her via text message. Things aren’t all bad however as Audrey has a best friend, Morgan (Kate McKinnon) who is a constant source of support and great entertainment.

Audrey’s meaningless existence is changed forever when Audrey is thrown into the back of a truck with a pair of secret agents, Duffer (Hasan Minaj) and Sebastian (Sam Heughan), who inform her that Drew is a C.I,A Agent and he’s gone missing. When he pops up at her apartment he tells her that he has a mission she must help him with; she must travel to Vienna and deliver a package to another spy named Vern in order to save the world.

When Drew is left unconscious, Audrey and Morgan decide to actually go to Vienna and try to carry out his mission with the CIA hot on their tale. Once in Vienna, the two end up in gun battles, getting tortured, and facing off against some of the world’s greatest spies. The film travels to Prague and eventually to Paris as the globetrotting and gun toting get going the film gets really, quite funny.

Director Susanna Fogel does a great job of taking good advantage of her talented stars. The story of The Spy Who Dumped Me is a tad thin, so much of the film relies on the clever riffing of Kunis and McKinnon. Fogel smartly gives them room to roam within this goofball adventure to search for as many funny, and often quite dirty jokes. A lesser cast, actors without the ability to riff would unquestionably expose how thin this silly plot truly is.

Mila Kunis continues to grow into a reliable leading lady. Where it once seemed like she was destined to be outshined by funnier supporting players, like Kathryn Hahn in Bad Moms, here Kunis is able to hang in and be as funny as her co-star. Perhaps it’s her improv background, but Kate McKinnon comes off as quite a generous scene partner. It’s clear that McKinnon is capable of dominating a scene, and she certainly takes over a few scenes, but for the most part she is matched riff for riff by Kunis.

That said, McKinnon does star in my favorite sequence of The Spy Who Dumped Me. The scene is late in the movie and involves a Cirque Du Soleil style routine on a trapeze, McKinnon in a wacky costume and a icy contract killer played by Ivanna Sakhno. The scene is high level goofy and McKinnon earns big laughs throughout with some terrific physical comedy. Sakhno is pretty great to having to play completely straight opposite McKinnon’s clowning.

The Spy Who Dumped Me is terrifically funny if a tad uneven. The movie is mostly riffing rather than story but when the riffing is this good it’s hard not to appreciate it. Kunis and McKinnon have remarkable chemistry and the fun they’re having is infectious. I could complain about predictability and the stop start nature of the pacing of the film but The Spy Who Dumped Me is far too fun for such complaints.

The Spy Who Dumped Me opens nationwide on August 3rd.

Movie Review: Forgetting Sarah Marshall

Forgetting Sarah Marshall (2008 

Directed by Nicholas Stoller

Written by Jason Segal

Starring Jason Segal, Mila Kunis, Kristen Bell, Russell Brand, Jonah Hill, Paul Rudd, Jack McBrayer

Release Date April 18th, 2008

Published April 17th, 2008

The golden touch of writer/director/producer Judd Apatow had become King Midas in reverse on his last two efforts. the brutal spoof Walk Hard and the forgettable Drillbit Taylor. Thankfully, the golden touch is back in the new romantic comedy Forgetting Sarah Marshall. Starring Apatow's long time friend, part of the apatow repertory players from TV and the movies, Jason Segal, Forgetting Sarah Marshall returns to the Apatow gang's comfort zone of awkward, R-Rated romance and mines it for humor of great discomfort, humanity, truth and penis jokes.

Peter Bretter (Segal) has been in love with Sarah Marshall for five years since they met on the set of her hit show Crime Scene: Scene of the Crime. Peter performs all of the music on the show. All seemed warm and cozy until Sarah decided to break up with him. Devastated, Peter drifts into a series of random sexual encounters before his brother Dave (Bill Hader) convinces him to get away for awhile.

Deciding on a Hawaiian getaway, Peter is stunned to find Sarah Marshall already on the island when he arrives and she's attached at the lips to her new rock star boyfriend, Aldous Snow (Russell Brand). On the bright side, a beautiful young hotel worker named Rachel (Mila Kunis) takes pity on him and decides to help him get his mind off his ex.

Jason Segal not only stars here, he wrote the smart, offbeat screenplay for Forgetting Sarah Marshall and the care he takes to avoid typical romantic comedy moments bring depth and brains to a film that could have been just another collection of broad gags. Segal crafts terrific characters, creates believable conflicts and wrings big laughs from moments that most anyone will be able to relate to.

Among the many things I loved about this terrific comedy romance is how director Nicholas Stoller and  Jason Segal balance Peter's flaws with Sarah's and avoids making her into a villain. The same can be said of Brand's airhead rocker who, though his quite shallow, proves to be something slightly more than just a walking gag.

Mila Kunis shines in Forgetting Sarah Marshall. Bringing a dash of crazy, foul mouthed hussy to an idealized version of a dreamgirl, Kunis shows bravery and chops hanging with the Apatow crew's brand of sweet offensiveness. From her girl's gone wild moment to her foul mouthed tirades, she surprises at every turn, and proves to be more than the equal of her male counterparts.

On top of the strong central story Segal, director Nicolas Stoller and producer Apatow also find room for terrific supporting players like Jonah Hill, Paul Rudd and Jack McBrayer. Best of all however, in the briefest of roles, in William Baldwin. In a pitch perfect send up of David Caruso's CSI Miami cop, Baldwin is a hilarious scene stealer. Really, just about everything works in Forgetting Sarah Marshall. If you can get past multiple scenes of male nudity, you will have a great time with this terrific little movie.

Movie Review Max Payne

Max Payne (2008)

Directed by John Moore

Written by Beau Thorne

Starring Mark Wahlberg, Olga Kurylenko, Mila Kunis

Release Date October 17th, 2008

Published October 17th, 2008

Is it cynical to assume that studios only make movies out of video games because of the built in audience? No, nothing is too cynical when it comes to movie studios. The real question is: How do the studios get filmmakers to go along with a movie that is little more than a marketing ploy? You could ask director John Moore. He is the man behind the latest video game adaptation to hit video store shelves. Moore and writer Beau Thorne have taken the characters of the popular first person shooter game Max Payne and used the character names and changed just about everything else that fans of the game knew.

Moore and Thorne have made a movie with characters named Max Payne and Mona Sax but if they resemble anything from the videogame it is merely a coincidence. Since that is the case, then why waste money on the rights to the game. Was that just for the name Max Payne?

Mark Wahlberg plays the titular Max, a cop tortured by the murders of his wife and daughter. They were alleged to have died in a robbery but Max comes to suspect a more sinister motive.  He's become so consumed by the conspiracy that his career has stalled. He now works in the Cold Case department, a bad assignment we assume because his office is located in the basement of the precinct.

The story kicks in when Max gets a tip from an informant about some dopeheads. He finds them and they lead him to a party and to a girl with a tattoo that is a big clue. The girl (Olga Kurylenko) is linked to a major drug dealer (Amaury Nolasco) who may be the man who really killed Max's wife. Before Max can get anything from the girl she is murdered. Since she happened to have stolen Max's wallet and was carrying it when she was killed, he is the top suspect.

More bodies pile up, each with a link to Max. As he avoids the cops he befriends the dead girl's sister, Mona (Mila Kunis), a killer for hire. Together they hunt down the drug dealer and his supplier. The plot involves a corporate conspiracy, drugs, super soldiers and other such things, many of them actually taken from the video game. However, fans of Max Payne looking for anything to be what they remember of the game will be sorely disappointed.

The 'adaptation' was merely a ploy by 20th Century Fox to find a property with built in salability. It never really mattered that the writer and director were in no way bound to actually adapt a story people were already quite familiar with. What mattered was the name Max Payne.

Now, as someone who never played the game, I could not really care less. The efficacy of video games to movies will affect fans of the game. For me, the issues are different. Max Payne, to me is a dreary action spectacle of dull anarchic plotting and lame attempts to marry classic detective movie tropes to modern special effects driven madness.

I like Mark Wahlberg but with The Happening and now Max Payne, Wahlberg is devolving from promising star to victim of bad management and bad advice. His Max Payne is a slow witted, lumbering piece of meat with a gun in his hands. On top of that, he's also a major bummer.

That last thing isn't his fault, I might not be alot of fun if my wife were murdered by drug dealing corporate conspirators but you wouldn't want to watch a movie about me either. The script of Max Payne piles on the depressive Max by killing his family and friends and then director John Moore piles on an oppressive atmosphere of unending cold darkness.

There are allusions to Norse mythology, lifted from the videogame but also altered from what gamers remember. The allusions are supposed to give the movie (game) depth but they really just show how shallow the whole enterprise is. The depth is feigned to the point of apathy and you almost feel sorry for whoever thought such a gambit would work.

Really, I almost feel sorry for everyone involved in Max Payne. I'm not sure what they set out to accomplish but still their failure is evident. Max Payne is a dreary, ugly, dumb movie that exists because of it's built in marketability and loyal following. Whether satisfying that built in following ever mattered is a question for director John Moore or 20th Century Fox.

My guess is, Nah.

Movie Review The Book of Eli

The Book of Eli (2010) 

Directed by The Hughes Brothers 

Written by Gary Whitta 

Starring Denzel Washington, Gary Oldman, Mila Kunis, Ray Stevenson, Jennifer Beals, Michael Gambon

Release Date January 15th, 2010 

Published January 14th, 2010 

I would characterize myself as an agnostic. I don't believe in a higher power but I am open to the idea that I myself am not all-knowing. How does my lack of faith inform my criticism? It doesn't really. The fact is Hollywood gives so little consideration to religion that it rarely comes up in a review. The new post-apocalyptic thriller The Book of Eli is, arguably, the most religious and faithful movie I have seen since I have been a critic. Rarely has religion been so unquestioningly treated in a movie and in all places, a big budget, ultra-violent, Denzel Washington thriller.

In The Book of Eli Denzel Washington plays the Eli of the title. Sometime in the distant future the world is a wasteland and Eli is simply walking. He knows where he is headed, west, but what he intends to find at the end of his journey, even he doesn't know. Eli is protecting a book that he is convinced can save what is left of humanity. Eli's travels take him through the tiny, barely civilized fiefdom of a man named Carnegie (Gary Oldman). Having discovered a rare source of clean water, Carnegie has used it as a way to create a small kingdom that he protects with roving gangs of motorcycle riding henchmen.

The henchmen are searching for a book that Carnegie is desperate to get his hands on and wouldn't you know it, it's the same book that Eli is desperate to carry west. These two were destined to meet and fight and surely one or both of them will die. Standing between the two is Carnegie's daughter Solara (Mila Kunis) who is drawn to Eli's quiet purpose driven life but also wants to protect her mother (Jennifer Beals) from her father's violent tendencies. She joins up with Eli in hope that he will teach her the fighting skill he uses to protect the book.

Directed by the brilliant brother duo Albert and Allen Hughes, The Book of Eli is gritty yet stylish in its post-apocalypse. The Hughes Brothers are masters of atmosphere and tense showdowns and when Denzel backs up under a shadowy overpass to fight off some cannibalistic bad guys, the flash of his super-cool sword cutting body after body is an awesome sight.

Denzel Washington is perfectly cast as Eli, a man of devout faith who prays nightly and knows the bible by heart. In this future the bible has been all but destroyed and Eli is a last man of faith. Carnegie too seems a man of faith but is really a charlatan who hopes to use faith as Roman Emperors did to control a weak minded populace. This tension drives the conflict as does the book Eli is carrying is a classic MacGuffin with a strong pay off.

Though I am not a believer, religion in movies doesn't bother me. In fact, I am more often irritated with movies that pretend religion doesn't exist. Characters in horror films rarely seem to pray when faced with certain death. Sci-fi too often belittles the millions of people of faith in favor of technology as a pseudo-religion.

It is terribly unrealistic for movies to ignore the millions of earnest believers who attend dutifully to their faith. The Book of Eli is the rare movie that takes religion and faith deathly seriously and while the hardcore violence may not exactly be Christ-like, it is in service of a character who is serious about his faith in God.

The Book of Eli is intense and violent but also devout and earnest about Eli's faith. Religious folk may be turned off by the grit and violence but they will no doubt appreciate the Hughes Brothers straight forward portrayal of Eli as a solemn, faithful soldier in service of God.

If the God stuff makes you uncomfortable, you can still appreciate the very cool ways in which the Hughes Brothers frame Denzel Washington slicing and dicing bad guys. Whether it's the stellar overpass scene or a Tarantino-esque bar fight scene, The Hughes Brother and Denzel know how to get their violence on.

The Book of Eli is gritty, bloody, tense and faithful all in one terrific movie.

Movie Review: Extract

Extract (2009) 

Directed by Mike Judge

Written by Mike Judge 

Starring Jason Bateman, Kristen Wiig, Ben Affleck, Mila Kunis, Dustin Milligan, Clifton Collins

Release Date September 4th, 2009 

Published September 3rd, 2009 

Writer-Director Mike Judge has a tremendous talent for creating memorable, well observed characters. From the moronic Beavis and Butthead to the best approximation of the American everyman on TV in King of the Hill to his put upon corporate drones in Office Space, Judge's talent for character is the glue that holds his work together.

For his latest effort, the dark comedy Extract, Judge has his talent for character working in abundance. It's unfortunate that his terrific characters are stranded in a meandering mess of plot that doesn't seem to know what to do with them.

Bateman is the star of Extract as Joel the owner of a company that makes sweeteners or Extract. Joel is married to Suzie (Kristen Wiig) but the spark has gone out of the marriage, they haven't had relations in over a month. Joel confesses this to his best friend Dean (Ben Affleck), a scraggly haired bartender at a sports bar. Dean suggests drugs.

First he offers a horse tranquilizer. When that succeeds in zonking Joel out he offers a bizarre solution to Joel's problems. You see, Joel is thinking of cheating on his wife. He has his eye on Cindy (Mila Kunis) a temp at the Extract company. However, he feels to guilty to cheat. Dean's ingenious plan is to get Suzie to cheat first thereby absolving Joel.

As Joel is still whacked on drugs, Dean calls Brad (Dustin Milligan) a good looking doofus who will seduce Susie in the guise of cleaning the pool at Joel's home. Meanwhile, Joel has problems at the factory as well as an industrial accident cost an employee, Step (Clifton Collins) a testicle. He set to sue the company and blow a deal to sell the company to a major corporation.

Cindy is a key to both stories but in ways that never really connect plot wise. There is a whole lot going on in Extract but Mike Judge just isn't certain what he wants to do with it all. He's aware, it seems, that his characters are funny, they really are, but they are funny without a purpose.

The plot is like a spinning top that after 90 minutes finally loses momentum and simply ceases to move. After running out of funny things for his characters to say and do, Judge simply ends the movie and on a note that really has zero to do with anything that happens in the rest of the movie.

I will give you just a hint, the end involves Joel's irksome neighbor played by comic suppporting all star David Koechner. That Koechner is brilliantly funny in the role is without question. Why his seemingly unrelated character figures into the film's ending is an utter mystery, I think even to Mr. Judge.

Extract ends with a bizarre black comic whimper that fails to payoff even the modest arcs that set up early on. Still, because of Mike Judge's talent for great characters and a stellar cast, I am recommending Extract. Just don't be surprised if at the end you are left wanting.

Movie Review: American Psycho 2: All American Girl

American Psycho 2: All American Girl (2002) 

Directed by Morgan J. Freeman

Written by Karen Craig, Alex Sanger 

Starring Mila Kunis, William Shatner, Lindy Booth 

Release Date June 18th, 2002 

Published June 18th, 2002 

Bret Easton Ellis is one twisted SOB. His novel American Psycho, adapted for the screen in 2000 starring Christian Bale, is a twisted pop culture salad of axe murders and pop references to Huey Lewis and the News, Genesis and Whitney Houston. The film version, while not as good as the book (they never are,) benefited from having a stellar indie cast including Bale, Jared Leto, Reese Witherspoon and Chloe Sevigny. 

The sequel, on the other hand, has William Shatner. 

The sequel’s connection to the original is so insignificant that I need not mention it, let's just say it provides the lead with her very thin motivation. The lead in American Psycho 2 is “That 70's Show's” Mila Kunis. As Rachael Newman, Kunis is a psychotically ambitious college student hell-bent on getting a teacher’s assistant job that will almost guarantee her getting into the FBI. The teacher, Robert Starkman (Shatner), is a former FBI agent who's final case was the Bateman killings, which remain unsolved. Standing in Rachael's way are 3 students so insignificantly painted that I need not describe them. Needless to say they are easily dispatched. 

For some inconceivable reason Rachael decides to see a psychiatrist in the middle of her killing spree. She isn't there to confess, but rather to provide clues so that later on the psychiatrist played by Garant Wyn Davies can be the hero and try to solve the crime. Whether he solves it or not I won't say, though it doesn't really matter. By the end of American Psycho 2 the whole thing is so superfluous and the mystery so ridiculous you couldn't force yourself to care. 

Kunis is badly miscast. She lacks the menacing sexuality of a Rose McGowan or the pop culture bitch cred of a Shannen Doherty, both of whom might have made for a more interesting film. The original American Psycho was an amalgam of pop culture and psychotic ax wielding, especially memorable was Bateman's dispatching of a victim while extolling the virtues of Huey Lewis & the News as “Hip To Be Square” played in the background. The sequel has none of that flair. It is essentially just a slasher movie and a bit of ripoff. 

Does anyone recall the movie Getting In with Kristy Swanson and Matthew Perry? Same idea, psycho killer taking out the competition for a coveted scholarship. Sequels are usually bad enough without being a ripoff. 

Movie Review: Black Swan

Black Swan (2010)

Directed by Darren Aronofsky 

Written by Mark Heyman

Starring Natalie Portman, Mila Kunis, Vincent Cassell, Barbara Hershey, Winona Ryder

Release Date December 3rd, 2010

Published December 2nd, 2010  

Cause this is f.....d up, f....d up.." Thom Yorke "Black Swan" The Eraser 2006.

Thom Yorke unknowingly encapsulated Darren Aronofsky's “Black Swan” in his song Black Swan back in 2006. Indeed, “Black Swan” the movie is 'F....d up.' The story of a prima ballerina in New York City who gets her big break as the lead in the legendary "Swan Lake."

“Black Swan” is extreme melodrama of a kind that only Darren Aronofsky can create and features a second to none, tour de force performance from Natalie Portman that bears comparison with De Niro's method take on Jake Lamotta in “Raging Bull.”

In “Black Swan” Natalie Portman stars as Nina Sayers an overgrown child with dreams of being the featured performer at the New York City Ballet. Living at home with her codependent mom (Barbara Hershey) whose own failure to rise beyond the corps in the same company years earlier has driven much of Nina's own career. If having her mother trying to live vicariously through her isn't troubling enough, Nina is also a cutter who has apparently started cutting again as we join the story; her mother discovers a scratch on Nina's back as she dresses her.

Arriving at Lincoln Center for the beginning of rehearsals for a new season Nina finds that the company's lead ballerina, Beth (Winona Ryder) is being forced out and that Thomas (Vincent Cassell) will mount a newly re-imagined version of Swan Lake with a new lead dancer. Complicating matters for Nina is the arrival of a new, free spirited dancer from the west coast, Lily (Mila Kunis), who Thomas has apparently recruited specifically to join this production.

The plot unfolds as one might expect as Nina finds herself in competition with Lily and constantly concerned that the newcomer is attempting to undermine her. What is not predictable is the ways in which director Darren Aronofsky and cinematographer Matthew Libatique turn up the heat on these proceedings and juice “Black Swan” from slight, goofy melodrama into an over the top camp melodrama that combines exploitation films with high minded art films like we've never seen before.

Natalie Portman spent months training to become a ballet professional losing more than 25 pounds from her already slight frame and allegedly breaking both ribs and toes in the process. I will put what Ms. Portman did up against the physical commitment of any actor in just about any role; her commitment here is remarkable and the performance is devastating as a result.

In previous roles Ms. Portman has played vulnerable but in “Black Swan” she takes on a frightful level of frailty. Looking as if a stiff breeze could take her away and speaking with the quivering voice of a small child, Ms. Portman portrays a fragility that is both physical and emotional. As Nina descends the depths of “Black Swan” Ms. Portman's delicate performance acquires bizarre new levels and by the end you are so fascinated by her that “Black Swan's” many artistic flights slip past almost unnoticed.

The extraordinary look of “Black Swan” is achieved with a combination of hand held digital and an extraordinarily small 16 millimeter film camera with minimal movie lighting that gives an intimate, almost claustrophobic effect in scenes set in Nina’s tiny apartment and an elegant yet macabre look during the lavishly produced ballet sequences. The camera work is so fluid and the production design so terrific that it may go unnoticed by many.

Not surprisingly, the scenes getting the most attention are the sex scenes. Long time friends Portman and Kunis engage is a rigorous girl on girl scene that is more in the imagination of the viewer than you may have been lead to believe. In an exceptional series of scenes Matthew Cassell's imperious leader instructs Nina to touch herself in order to get in touch with the seductive character of the Black Swan leading to a scene that begins erotic and grows disturbingly, darkly, comic.

Darren Aronofsky is part of that rare breed of directors with nerves of steel who rarely question their vision even if that vision is wildly out of the norm. Few other filmmakers would have the guts to try what Aronofsky somehow pulls off in “Black Swan,” a blithely over the top melodrama that haughtily demands to be taken seriously. Laugh if you like, Aronofsky and “Black Swan” stand proudly and in the ungodly brilliant performance of Natalie Portman indeed you have something that cannot easily be dismissed.

“Black Swan” is a stunner; a film of extravagant oddity and highly charged passion. A film with a deeply melodramatic heart and yet high minded pretensions. Darren Aronofsky and company walk a daring high wire act to keep all of these elements in play, at odds and ever moving toward a crashing, spectacular crescendo. This is a film that demands and commands your attention.