Most critics come down in favour, though not by a wide margin: five positive against two mixed and two negative. Where they praise, they praise the same things. Hugh Jackman’s performance is singled out again and again, usually alongside Rachel Weisz, and the pair are credited with keeping an eccentric story of grief anchored to something human. Clint Mansell’s score draws similar approval, and even the doubters concede the imagery is striking.
The reservations gather around the writing. Several critics find the dialogue clanging or tacky and the philosophy vague, and they part on whether the film’s sincerity makes up for it. The spread is wide. Variety and Time Out dismiss it outright, one as tedious and emotionally unengaging, the other as lacking any insight, while Little White Lies and Eye for Film rank it above anything else Aronofsky has made. It is a film critics either forgive or do not.
