THE BEST FILM OF 2010

BLACK SWAN

So it has finally come to this. I have only done this 3-4 times, but by the time I get to writing about my favorite film of the previous year, it's hard to sink my teeth into writing a lot about my ultimate annual cinematic experience. Maybe, as I've tried to make a habit of this movie criticism to keep up my writing, I'm finding the topic of what DOESN'T work in a film more engaging. Could it be a troubling sign of my overall pessimistic attitude that if I can't discuss something that is imperfect about a movie, then I can't say anything at all? I'd rather chalk it up to review fatigue.

I will say that I was very excited about this film, and I had a nagging thought that it wouldn't come up to a theater in Rockford. That's why I scheduled an early Friday afternoon off so I could make it down to Chicago to see Black Swan before I went to a later engagement that evening in the City. That awesome poster symbolized the enormous leg up this film would already have in my year-end top 10 list. The simple elegant shot of the star ballerina transformed, looking sinister or tortured or self-aware signaled something incredible, surreal, dark, and powerful. If you know Darren Aronofsky's work (Pi, Requiem for a Dream, The Fountain, and The Wrestler), you might have anticipated how this film would be, but that poster image convinced the believers that this was going to be really great.

All of this director's previous movies not only had a atmosphere that matched their story , but also a technique and momentum that fit the distinct bold vision of each movie. The gritty trailer-park feel of The Wrestler was a far cry from the sci-fi twists of The Fountain, while Pi and Requiem for a Dream used disorienting edits and cuts to give someone a visceral sensation of what these drug-addled characters were experiencing.

The story of a struggling artist destroying himself/herself for that perfect creative moment has been done before, but after watching Black Swan I was convinced that only this particular filmmaker could tell that story so perfectly with the exact blend of style and substance. I also believe the story was well-grounded and approachable, but with a true fantasy and surreallistic element that harnessed the director's proven character work (exemplified by Mickey Rourke in The Wrestler) to the twisted cinematic visions of his first films.

For a director obsessive like myself, it’s hard to say that Black Swan is the ultimate culmination of Arronosfky’s style. But I do think my enthusiasm before, during, and after viewing Black Swan represents that anticipation for a masterwork that comes with a director who has earned a reputation for quality filmmaking. Unlike the slightly off elements of Tarantino's Ingluorious Basterds, I was completely satisfied with Black Swan. I trust this director with nearly anytihng now, because after building a respectable body of work and a distinct style that always serves the story, I know that he is going to offer an intense interpretation of any script he's given.

I'll begin my recap of this month's Wisconsin Film Festival soon!