One is led to believe that there's quite an upsurge in general ballet interest (especially in the US) because of it so that's certainly a good thing in itself.
We saw it a couple of nights back although could only do so on the small screen (what with dubbing being such a feature of the cinematic landscape in these parts). I was unimpressed at the time and the more I scratch at it the more feathers keep coming out. Quite unconvinced with Portman's dancing I'm afraid and to me that's one of the biggest problems: not being convinced that Nina is a fantastic dancer made it practically impossible to swallow the plot. We've all heard how much time Portman devoted to her ballet classes and hearing that she's going to marry her instructor at least answers the question of where all that time went. They should have just concentrated on getting her arms right - if they can't even make the closeups convincing then they clearly can't have had that much to work with.
The other enormous problem for me (actually, probably the clincher) was simply that at some point, once one thing after another presented as real had been shown as a hallucination (especially since she occasionally snaps out of one hallucination only to be in the middle of another one - I expected some slowed-down Edith Piaf to loom into the aural landscape) my suspension of disbelief collapsed irrevocably.
And plenty of little problems. Not really convinced by Vincent Cassel - he didn't seem to be able to bring much life into his English, amply evidenced by the couple of French sentences he got to spit out. I have the memory of the idea of Odette and Odile being danced by the same person being presented as some radical production idea when that's how it's been done since the premiere (and Odile has such a tiny amount of time on stage anyway). And the last phase of the film being so damn schlocky. And, and, and. Grr.
Right, I've said it now.