REVIEW: Fish Tank

Fish Tank
Directed by: Andrea Arnold
Written by: Andrea Arnold (screenplay)
Starring: Katie Jarvis, Michael Fassbender, Harry Treadaway, and Kierston Wareing

Beginning with a head-on view of its protagonist surrounded by the blue walls of an abandoned apartment, Fish Tank explains its title almost right off the bat.  Mia, the 15-year-old girl occupying that frame, takes a little bit longer to get to know, though.

Director Andrea Arnold laces this confrontational tale of emerging adulthood and sexuality with vulgar language and despicable acts; more importantly, though, she fills it to the brim with sympathy.  Though Mia (Katie Jarvis) lives in the slums of Essex with her abusive mother and equally vulgar sister, she’ll be the first to tell you she’s not a victim.  In the first ten minutes, she headbutts a girl just for having the nerve to argue back at her and she attempts to free an imprisoned horse from a band of gypsies.

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BEST PICTURE NOMINEE: Black Swan

Black Swan
Directed by: Darren Aronofsky
Written by: Mark Heyman, Andres Heintz, & John J. McLaughlin
Starring: Natalie Portman, Mila Kunis, Vincent Cassel, and Barbara Hershey

Perfection: chased to the elegant stage by way of the not-so-elegant back rooms.  That is the goal viewers watch Nina (Natalie Portman) hurt, bleed, and dance, dance, dance toward  in Darren Aronofsky’s hallucinatory Black Swan.

Aronofsky, fast becoming one of American cinema’s brightest renegades and fiercest visionaries, has never been shy about making you feel his characters’ pain.  By removing all distance between you and them by rapid cutting and frantic pacing, you feel a kinetic connection to their turmoil.

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REVIEW: Black Swan

Black Swan
Directed by: Darren Aronofsky
Written by: Mark Heyman, Andres Heintz, & John J. McLaughlin
Starring: Natalie Portman, Mila Kunis, Vincent Cassel, and Barbara Hershey

Perfection: chased to the elegant stage by way of the not-so-elegant back rooms.  That is the goal viewers watch Nina (Natalie Portman) hurt, bleed, and dance, dance, dance toward  in Darren Aronofsky’s hallucinatory Black Swan.

Aronofsky, fast becoming cinema’s brightest renegade and fiercest visionary, has never been shy about making you feel his characters’ pain.  By removing all distance between you and them by rapid cutting and frantic pacing, you feel a kinetic connection to their turmoil.

Continue reading