Starring:
Michael Keaton (Beetlejuice)
Emma Stone (Zombieland)
Naomi Watts (I Heart Huckabees)
Edward Norton (Fight Club)
Andrea Riseborough (Oblivion)
Zach Galifianakis (Corky Romano)
Lindsay Duncan (Doctor Who)
Amy Ryan (The Office)
Merritt Weaver (New Girl)
Lindsay Duncan (Doctor Who)
Amy Ryan (The Office)
Merritt Weaver (New Girl)
Everything promised by that killer trailer, to the tee. Almost good enough to make up for it not being about Ray Randall (DEEP CUT!). Also, there were some missed opportunities here. No sign of Chris Anderson (Miami Heat Center) and little to no rap music anywhere (PURRRRR). Some may argue that those are good things but can you really sit there on your stand alone ottoman and say that the synergy brought about by including each of those in this film wouldn't be like some sort of Avatar bringing balance to the world of pop culture? I thought not.
As for what the film did have, let's start with the biggest triumph. One Take Tony missed out on being in this pseudo-one-take beauty. Everything on screen and all the sounds thumping about fed directly into making it feel like the camera never turned away from the moment. The music (a must for any film to transcend mediocrity) is boundless. Immediately penetrating your consciousness, dictating your levels of attention with exquisite, raw, and lasting drum solos.
The consuming style and tunnel-vision-like trance the visuals vacuum you into with such confidence distract from any flaws with ease. Filmed as though experiencing a dream from a real singular perspective. A continuous flow to every aspect of the film done not to show off but to enthrall. The drums beat intensifies when it needs to and the camera never lets up. There are obvious spots where a cut is taking place but not only are they smooth, they are soothing. Pauses in a ride that isn't over until its over. The camera work is stunning. There's a but of strutting too like when the camera is moving around Keaton's head as he looks in a mirror. There is no camera anywhere in sight. Overly clever but well executed.
Outstanding performances are commonplace here. Its like each A-lister is trying to prove how amazing they really are. To his credit, Zach Galifianakis pulls an Edward Norton. Edward Norton also pulls an Edward Norton. Norton's new found acceptance of supporting roles (which was birthed by his infamous parting with Marvel) is a plus to any movie that can nab him (Grand Budapest, Moonrise Kingdom, Bourne Legacy). At the center is Keaton. It's been a strong year for the guy with him being the best part of two sub-par outings (Need for Speed and Robocop) finally delivering on the promise we all saw in Multiplicity. But seriously, his success was no fluke. He deserves to in films like this. You long for his return to the playing The Dark Knight. What a role, a truly spectacular job by him.
The women, while acted beautifully by all, especially Stone, are not allowed to break out of standard female roles. They are there to be affected by the men, each one in a different way, which is really the only negative the film brings. Where Jessica Chastain in Interstellar and Emily Blunt in Edge of Tomorrow set a standard for all films to uphold, Birdman was lacking.
As for what the film did have, let's start with the biggest triumph. One Take Tony missed out on being in this pseudo-one-take beauty. Everything on screen and all the sounds thumping about fed directly into making it feel like the camera never turned away from the moment. The music (a must for any film to transcend mediocrity) is boundless. Immediately penetrating your consciousness, dictating your levels of attention with exquisite, raw, and lasting drum solos.
The consuming style and tunnel-vision-like trance the visuals vacuum you into with such confidence distract from any flaws with ease. Filmed as though experiencing a dream from a real singular perspective. A continuous flow to every aspect of the film done not to show off but to enthrall. The drums beat intensifies when it needs to and the camera never lets up. There are obvious spots where a cut is taking place but not only are they smooth, they are soothing. Pauses in a ride that isn't over until its over. The camera work is stunning. There's a but of strutting too like when the camera is moving around Keaton's head as he looks in a mirror. There is no camera anywhere in sight. Overly clever but well executed.
Outstanding performances are commonplace here. Its like each A-lister is trying to prove how amazing they really are. To his credit, Zach Galifianakis pulls an Edward Norton. Edward Norton also pulls an Edward Norton. Norton's new found acceptance of supporting roles (which was birthed by his infamous parting with Marvel) is a plus to any movie that can nab him (Grand Budapest, Moonrise Kingdom, Bourne Legacy). At the center is Keaton. It's been a strong year for the guy with him being the best part of two sub-par outings (Need for Speed and Robocop) finally delivering on the promise we all saw in Multiplicity. But seriously, his success was no fluke. He deserves to in films like this. You long for his return to the playing The Dark Knight. What a role, a truly spectacular job by him.
The women, while acted beautifully by all, especially Stone, are not allowed to break out of standard female roles. They are there to be affected by the men, each one in a different way, which is really the only negative the film brings. Where Jessica Chastain in Interstellar and Emily Blunt in Edge of Tomorrow set a standard for all films to uphold, Birdman was lacking.
On the pus side, yet again we have an original story, non sequel, non adaptation. They seem to making a nice return these days.
Bottom Line: With elements of fantasy peppered into a simple story of a comeback attempt, Birdman lays down an ambiguity to the whole world it presents. By the end you can determine who in the audience is a kid at heart and who is a grumpy old fart.
Bottom Line: With elements of fantasy peppered into a simple story of a comeback attempt, Birdman lays down an ambiguity to the whole world it presents. By the end you can determine who in the audience is a kid at heart and who is a grumpy old fart.
9 out of 10. This is turning into a magnificent year for films.
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