Opiniões dos críticos

Black Swan holds the attention in a manipulative manner, but one can see in it the possibility of a better, more satisfying film with the same setting and the same dramatis personae... Instead, what Aronofsky has ended up with is an exercise in the higher kitsch, a slick, pretentious film in which the polished surface is a distorting mirror.

In its slightly psycho, what-she-did-for-love way, Black Swan touches a certain masochistic grandeur nestled within the erotic mystique of ballet. Yet the film is powered by enough conventional bloodbath theatrics to be, in the end, more shocking than ravishing.

What startles most is how exquisitely controlled [Aronofsky's] command of so much madness truly is. He mashes high art and low, classical and camp, and whips it all up with a kind of baroque frenzy for a sumptuously unnerving, singular experience.

For all his command of adrenalized, propulsive narrative and his dazzling technical facility, Aronofsky’s study in female hysteria ultimately favors frenzy over compassion or insight—and remains strictly skin-deep.

Black Swan is not completely original. It takes from a formula we’ve seen countless times before, but delivers a singular, masterful version that’s hard to forget... The story goes to the places and the depths you expect it to. But that’s not a slant, as Aronofsky makes this fairytale of self-destruction fly as high as possible.

Black Swan is a virtuosic piece of filmmaking, a tour de force -- and also, I think, a camp classic, like Showgirls remade by Roman Polanski. You could have a great time laughing at it and its goofy Freudian cliches, if only it weren't so bludgeoning.

Aronofsky has dreamed a beautiful nightmare with Black Swan. It explores themes of female sexuality, obsession, compulsions, fractured identity, and does so in a visually captivating and brutally honest manner that mischievously dances between the real and the surreal.

A witchy brew of madness and cunning... [a] dementedly entertaining film... One of the pleasures of “Black Swan” is its lack of reverence toward the rarefied world of ballet, which to outsiders can look as lively as a crypt. Mr. Aronofsky makes this world (or his version of it) exciting partly by pulling back the velvet curtains and showing you the sacrifices and crushingly hard work that goes into creating beautiful dances.

“Black Swan” is a full-bore melodrama, told with passionate intensity, gloriously and darkly absurd... If I were you, I wouldn't spend too much time trying to figure out exactly what happens in practical terms. Lots of people had doubts about the end of "The Red Shoes," too. They were wrong, but they did.

The movie is so damn out-there in every way that you can’t help admiring Aronofsky for daring to be so very, very absurd. Swan is an instant guilty pleasure, a gorgeously shot, visually complex film whose badness is what’s so good about it.

Powerful, gripping and always intriguing, [Black Swan] features a lead performance from Natalie Portman that elevates her from a substantial leading actress to major star likely to be lifting awards in the near future.

Wicked, sexy and ultimately devastating... [Black Swan] is an unsettling yet ultimately intuitive blend of classical and contempo techniques.