You have to suspend belief too many times.

Rating: Null/10 (2 September 2011)

This Polanskyesque horror movie appeals to some as a perfect mixture of genres, constantly resorting to ambiguity in order to extend the attention of the audience to its hero, Nina (Natilie Portman). This actually weakens the film's connection to its target, which is a ballet production, however, which seems a waste, although eventually it becomes clear that all of the other characters must gradually become mere cogs in the grinding wheel of Nina's egoism.
In the end we are left with only one character, the hero, and her death, as the perfect consequence; and as death sublimates the existence of all, not just its victim, the movie neatly resolves all of its many conflicts.
It is as if Aronofsky, the creator of The Wrestler, is bragging to us, "See how easy it is to end a movie with death! You can dissolve every conflict at once, no matter how poorly constructed it was, and the audience will never realize how it happened in their grieving!" To his credit, he has taken care to reconcile the other characters with Nina before or at her death, yet the I find the notion that the snuff ending has become the new panacea of film making repulsive.