Black Swan (2010): I remember seeing The Social Network, then being impressed, then seeing Black Swan and thinking The Social Network was average. But the two are, really, just different. For me, Black Swan is one of those film experiences that stands on its own – I first watched at a small cinema screen, sitting in the back row, sweating from the heat that emanated from the projector and inadequate cooling, but all this to the benefit of how the movie came across. I’m not even sure it’s peak Aronofsky bravado, but Portman’s performance and the horror-infused aesthetics still lift BS above the raff. And that’s in spite of the fact that there’s a demonstrative philosophy at its core, that occasionally undermines the cinematic scope – meaning style, above substance, but just enough ambiguity to keep the viewer engaged in the (overly) neat psychoanalysis of its lead character. Whatever, you know, BS is just a great time of uneasy obsession and questionable power dynamics. 9
When Harry Met Sally… (1989): From my limited knowledge on the matter, I reckon Nora Ephron, who wrote this Rob Reiner directed hit of the late 80s, was one of the first women directors to make it into the Hollywood mainstream as a writer and director. I’ve not seen much, just the big hits (this, Sleepless in Seattle, You’ve Got Mail, Julie & Julia) and I’m not sure yet what to think of it all. WHMS is perfectly agreeable and occasionally quite romantic, with a couple of iconic moments that have become pop culture references. Hard to go wrong with Billy Crystal and Meg Ryan, but overall I don’t think WHMS goes far beyond itself to be more than agreeable. There are glimpses of authenticity and truthfulness in it, just never enough to flesh out a truly impactful romance. 7
Ballet 422 (2014): A fly-on-the-wall kind of documentary, Jody Lee Lipes’s movie follows NY Ballet choreographer Justin Peck in the lead-up to a show premiere. It has an understated nature, so don’t expect blow-ups or any other kind of drama. Focusing on the day-to-day transformation of Peck’s complex vision into an actual performance, it is the structured and mundane nature of it all that stands out. It’s all admirable and beautiful in the end, pretty much an antidote to the high-drama of your usual ballet movies. 7
The Invisible Raptor (2023): Clearly made as a B movie with gusto, you can pretty much imagine what TIR is about. A down-on-his-luck paleontologist becomes the hero when a genetically engineered invisible raptor gets loose and starts a-killing. Reconnecting with his former high-school fling and aided by a friendless amusement park security guard, the three come together to save the community. There are moments of real amusement to be had, whether about how disposable children are in this story, or the over-the-top highlights that occasionally work. What I cannot understand for the life of me is why anyone would make this a nearly two hour movie, because after about half of it you pretty much expect it to end. Sure, there’s some bloody (cheap) action, a fun way around avoiding the costs of actually having a killer raptor in a movie is to make it invisible, but all in all it is not justified. So just a fun, if overlong diversion on the way to the cemetery, as they say. 6
The Company (2003): This minor Robert Altman movie, his second to last, features a ballet company and stars Neve Campbell. Campbell also co-wrote it alongside Barbara Turner, but this is, not unlike Ballet 422, a movie more about the inner workings of the ballet world, rather than a blown up drama. It isn’t as effective at almost two hours, shining only during the fully featured ballet scenes (one to The World Spins, by Julee Cruise, just wonderful). So while it fails to strike an emotional chord, I still think it has its moments, embedding a few actors in the real life world of the ballet scene. 6
tributary stu 