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La La Land (2016)
6/10
Cannot understand what all the hype was about
8 January 2017
I'm a big fan of musicals - on film and in the theater - so I had high hopes for La La Land. Combine its genre with the fact that it seemed like a love note to the great city of Los Angeles, always a rich backdrop for a film, and I was eager to see this movie.

I was sorely disappointed.

First, the casting of Gosling and Stone is all wrong. Neither can sing, or at least certainly not well enough to make the many musical numbers enjoyable. The dancing in the film is basic and didn't hold my attention, including in the much-lauded opening number.

So, if neither Gosling nor Stone fit the bill based on their musical abilities, maybe their on-screen chemistry would explain their roles in this picture? Not even close. I couldn't believe for a second that these characters really loved one another. There was no credible romance between them; I'd go so far as to call their relationship awkward.

Stone, for her part, delivers her lines very well and has much more range as an actor than Gosling, who, no matter how many movies I see him in, always seems to be playing a caricature of himself. But her talent isn't enough to save the film.

Then, there is the plot. There is very little of it. The movie, clocking in at just over 2 hours, feels like 3. So little attention was paid to story, and so much paid to fetishizing mid-Century Hollywood filmmaking, that I couldn't help by feel the film dragging and stumbling from one poorly written set piece to another, without succeeding at captivating my interest at any point.

For example: Gosling's character is set up as a down-and-out struggling musician without an ounce of opportunity or luck on his side. What, then, explains his seemingly effortless rise in the film as he scores a gig playing with musicians he used to swoon for as a spectator, or the way he suddenly hops into national stardom by partnering with John Legend's highly successful band? There is nothing that really explains his character's quick transition from bitter failure to jazz superstar.

There is a charming final song-and-dance number in La La Land, but it comes too late to save the movie.

Overall, La La Land is a half-baked pastiche of a movie with forgettable music, lackluster dancing, thin story, and insincere character development.

SKIP IT!
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Black Swan (2010)
9/10
Fast-pace thriller that artfully explores the mind's labyrinths and the origins of artistic ingenuity.
3 January 2011
Warning: Spoilers
Black Swan is largely about dualities. Throughout the movie Aronofsky asks us to question what is real and what is a dark dream; who is to be trusted and who is villainous; and who, in the end, is Nina Sayers. The fact that Nina must personify both the white swan and the black swan shows that one of the most significant, symbolic splits we encounter lies within the self — in the mind. Which of her experiences should we believe? Is she the victim of others' machinations, or is Portman's character herself the perpetrator? Does she love or loathe Beth, Lily, her mother, and her director? Is she timid or strong-willed?…Is she the black swan or the white swan?

Aronofsky skillfully builds narrative tension by emphasizing the film's many dualities, a feat that he accomplishes through visual cues (this story depends little on dialogue). Note the strategic juxtaposition of white and black wardrobe (particularly in scenes that don't depict ballet), Nina's constant visions of her double, the ghostly and often gruesome reflections in the mirror that seem to defy reality, the way innocuous acts of grooming, dancing and training suddenly turn bloody and destructive. Because we see through Nina's eyes, we share her confusion and must view her world in its strange thematic binaries. The cinematography amplifies our bewilderment; Aronofsky aligns the camera with his protagonist and moves it frantically to communicate Nina's jostled perspective and mental disarray. The only certainty we have is that our heroine's vision is an untrustworthy guide to what is real or fake.

But to focus only on Nina's paranoid schizophrenia would be to overlook this film's more elegant argument about art. Nina's quest to master Swan Lake represents a constant struggle between her controlling desire to refine her technique, and her overarching need to liberate her spirit and embrace her fallibility. What she seeks is a kind of artistic immortality: the equilibrium between precision and passion, the Apollonian and the Dionysian, the scientific and the emotive. The fact that Nina seems to achieve this equilibrium during her performance as the Swan Queen explains why she must die in the end: In reconciling her warring artistic impulses — the black swan and the white swan — she obtains something no mortal can. Perfection.
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