It's easier to root for Fraser and his much-lauded comeback than it is to actually connect with Aranofsky's inconsistent film
. In the first film, a way-past-his-prime professional wrestler played by Mickey Rourke continues to push his tired and withering body to the extreme. In the latter, Natalie Portman’s ballerina struggles to be perfect as both the black and the white swans of Tchaikovsky’s famous Swan Lake ballet, pushing her body to its maximum limits in the process. Considering how similar these plots sound toG/O Media may get a commissionWe’ve all been here. You go to flip on the TV and ... nothing.
Under heavy prosthetics, Fraser is nevertheless able to utilize his face to convey Charlie’s sunny side. That note of hope shines through bright and clear. Charlie believes everyone is good and has potential, positive notes that Fraser delivers with acute feeling. Beyond that, the performance is hampered by all the physical exertion he has to communicate. It becomes more about calling attention to the difficulties he has breathing and talking instead of showing us his emotional state.
On the other side of that, Sink only plays the obvious elements of being a teenager. Other characters speak about Ellie’s abrasive personality, her mother even calls her “evil.” Sink seems to have based her performance on that, without trying to find what’s really driving this behavior.has a few other problems too. Not escaping the theatrical confines of its source material is not one of them, since claustrophobia fits how this character feels inside.
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