The Wrestler

The Wrestler is an unobtrusive indie work. It is simple, clear and clean, and relies on only one thing – Mickey Rourke. Darren Aronofsky is aware that everything else is just Rourke’s surroundings, so he paves the way for him without much interferences or original screenwriting ideas (we’ve seen it all before), comfortably riding on his character’s shoulders. And the whole crew sleeps in Randy’s caravan because no one would give them a normal budget for this. A nice, modest film that could have been excellent as a featurette. (02/10/2009)

Even my third encounter with Darren Aronofsky's work did not end well, although this time it's not so much the director's fault as it is the subject matter, whose setting and characters simply repel me. I consider wrestling to be a degrading form of entertainment, although it is primarily a problem of audience demand for new gladiatorial matches. Moreover, I have no particular love for Mickey Rourke, and with the honorable exception of Angel Heart, none of his films have thrilled me. To top it all off, his protagonist did not seem sympathetic to me in the slightest, and he had only himself to blame for his fate. He chose it and paid the price. His casting, however, fits - given his boxing antics and personality, he is cast perfectly type-wise. The film certainly does not delve into any great depth, it is predictable, and the characters, whether the protagonist or the stripper who, of all people, is also a caring mother and yearns to escape from this rotten environment, have a bit of a kitschy feel. Overall impression: 45%. (03/11/2011)

Flawless, but mechanical. It's beautiful to watch and Mickey Rourke is superb, but Aronofsky should be making stories where every twist and turn isn't inevitable and taken from other genre films. The Wrestler kicks the viewer a couple of times, but it doesn't land any hard punches like Warrior, Rocky or even the sentimental Cinderella Man, and that's a shame... (11/19/2011)

A devastating and really depressing drama. I think most of us somehow unconsciously realizes that the life of a professional wrestler is no rose garden, but Aronofsky takes this to extremes and allows “The Ram" fall from the top right to the very bottom, and then some. And thanks to the excellent Mickey Rourke this comes across more intensely than is healthy. Man, in some places even I felt a bit bad. So imagine how Randy must have felt? (02/23/2009)

Reality, dreams, desires, and reality. Darren Aronofsky resigns from the magic of editing or groundbreaking effects and becomes a guide through the world of wrestling matches. And it is a walk without embellishment. He doesn't flinch from anything, doesn't stop for a moment - and yet he partially fails. He relies too much on Rourke's perfect performance. In his portrayal, Randy is a breathtaking character dependent on his past and struggling with ingrained habits. I admired him, but I didn't breathe for him. The camera practically never leaves him, but I still don't feel the necessary dramatic closeness and take his story as a scripted scenario with necessary accompanying tools, with three evident twists and a strong ending. I never expected that I would reproach the director for a cold approach precisely in the emotionally soaked, dramatically perfect, and for me, already immortal Fountain. (07/30/2010)