Ted: a young boy who wished that his teddy bear could come to life and be his best friend gets just that, but 25 years later their friendship is tested by a smelly girl! With Wahlberg, McFarlane and Kunis as the leads you know that this one should be funny, and it is. They’re also aided by some ace casting of the smaller roles; Giovanni Ribisi, Joel McHale, Ryan Reynolds, Sam Jones etc. The film’s pretty much gag-o-rama, with the funniest ones being the ‘shouldn’t be laughing’ moments – the Airplane / Saturday Night Fever homage to a spoof was brilliantly used too. The downside is that the direction is fairly plain, and story is weak, and although it’s funny, it’s not end-to-end-side-splittingly-good. The bottom line is that as a (live action) extension of family guy – cast, voices, music – the Ted does alright, but as a ‘film’, it doesn’t quite cut the mustard. It’s definitely funny, but most of it is forgettable.
Black Swan: when a devoted ballet dancer finally gets featured in the lead role of Swan Lake she has to deal with all the pressures that drove her predecessor crazy. To get it out of the way, nobody does ‘descending into madness’ quite like Aranofsky – and this is no different in that you genuinely have no idea if what your seeing is real, unreal, paranoia, hallucinations, fantasy, or mental illness. The second half on the film in particular has some genuinely chilling and thrilling scenes. To begin with the camerawork feels awkward and unnecessary – walking shots behind the heads – but it works surprisingly well for most of the film – particularly when it starts spinning around the dancers. The film also uses SFX outstandingly, and wiping out the cameramen in the reflections gives the viewer a strange haunting sensation. The new-age classical soundtrack is nothing short of stunning. Although I wasn’t convinced by the first 40 minutes, seeing the complex relationships (mum, teacher, peer) develop is thoroughly enjoyable, particularly because the film always keeps you guessing. Cassel and the Hershey both give show-stopping performances, although they’re overshadowed by Portman who puts everything out there, and becomes the definition of fragile, slowly and believably transforming into a woman on the brink of madness. Don’t understand the big deal around theater walk outs – it’s definitely not for the prudish, but there’s nothing offensive here. Despite everything in front of the camera being golden, the real star is the man behind it, who gets everything pitch perfect and creates an absolutely stunning finale. Ballet’s never been this sexy and dramatic.