Black Swan Reviews

  • You can't take it too seriously, but you can't tear your eyes away from it, either.

    Owen Gleiberman — Entertainment Weekly

  • Visceral and real even while it's one delirious, phantasmagoric freakout.

    Manohla Dargis — New York Times

  • For every moment of exquisite grace, Aronofsky compensates with a shot of bruised toes mercilessly cracking, or someone taking a pair of scissors to the sole of a pink toe shoe.

    Ann Hornaday — Washington Post

  • This isn't terribly deep -- most of the thrill is gone by a second viewing -- and you can often feel Aronofsky's exertion. But the movie looms in the memory.

    Wesley Morris — Boston Globe

  • Black Swan is something like a 100-minute swoon. The camera lurches, leaps, and pirouettes; in some scenes, it feels as if it's being tossed around the stage along with Portman. Kitsch this bombastic becomes something primal.

    J. Hoberman — Village Voice

  • A psychosexual thriller that lures its viewers into a woozy nightmare.

    Elizabeth Weitzman — New York Daily News

  • The craftsmanship is impressive, the music is powerful and the movie is never uninteresting.

    Joe Morgenstern — Wall Street Journal

  • It's the kind of nightmare melodrama that rouses the best from director Darren Aronofsky, of a piece with his dark spirals Requiem for a Dream and The Wrestler.

    Chris Vognar — Dallas Morning News

  • At times, Black Swan verges on laughably old school. Still, what a brazen, bold riff on the cost - physical, emotional - of art.

    Lisa Kennedy — Denver Post

  • ...what makes Black Swan really special is the immediate way that it works on you if you give yourself over to it. It's a true cinematic experience...

    Glenn Kenny — MSN Movies

  • The movie has the Romantics' fascination with death without their spiritual eloquence, which turns morbidity into art.

    David Denby — New Yorker

  • Darren Aronofsky's "Black Swan" is a full-bore melodrama, told with passionate intensity, gloriously and darkly absurd.

    Roger Ebert — Chicago Sun-Times

  • Guiding it all, Natalie Portman's performance as the dying swan is formidable in its nerve-racking expressivity. It is, in fact, a racked nerve, personified.

    Michael Phillips — Chicago Tribune

  • The black/white duality isn't terribly interesting, but as in most of Aronofsky's films, an intense horror of the body and its uncontrollability fuels the rhapsodic psychodrama.

    J. R. Jones — Chicago Reader

  • Wild and woolly, the movie is a breathtaking head trip that hails from a long tradition of backstage melodramas: 42nd Street, A Star Is Born, All About Eve, and, yes, that kitschy '90s relic, Showgirls.

    Steven Rea — Philadelphia Inquirer

  • The film picks at our deepest anxieties -- injury, disfigurement, loss of a coveted job, loss of identity, loss of sanity. In most fright films, danger lurks in the shadows. Here it's grinning from a mirror.

    Colin Covert — Minneapolis Star Tribune

  • There's a delirium that runs through Black Swan, a sense of stress and anguish and mad momentum, that's both exhilarating and terrifying.

    Tom Long — Detroit News

  • Taken in the too-much-is-never-enough vein, "Black Swan" is a fantastic experience...

    Bill Goodykoontz — Arizona Republic

  • An absurd Freudian nightmare that is more wet dream than bad dream, with all the subtlety of a chain saw.

    Rex Reed — New York Observer

  • A wicked, sexy and ultimately devastating study of a young dancer's all-consuming ambition.

    Peter Debruge — Variety

Top Movies