Directed by:
Alejandro González IñárrituCinematography:
Emmanuel LubezkiComposer:
Antonio SanchezCast:
Michael Keaton, Emma Stone, Zach Galifianakis, Naomi Watts, Jeremy Shamos, Andrea Riseborough, Damian Young, Natalie Gold, Merritt Wever, Edward Norton (more)VOD (5)
Plots(1)
BIRDMAN or The Unexpected Virtue of Ignorance is a black comedy that tells the story of an actor (Michael Keaton) - famous for portraying an iconic superhero - as he struggles to mount a Broadway play. In the days leading up to opening night, he battles his ego and attempts to recover his family, his career, and himself. (Fox Searchlight Pictures US)
(more)Videos (13)
Reviews (22)
More volatile and evasive than complex and layered, more rhetorical than intrinsically convincing, more caricatured than sharply reflective. For me, Birdman is a film full of unbearable contradictions, unshaded creative gestures and narcissistic affection in the quite primitive case histories of its creators / artists / critics. The film creates the impression of sophistication by gliding gracefully from topic to topic, from phrase to phrase, and rarely gets under the skin of (not only) Broadway illusion. I could let myself get drunk on it in silence if the transitions between worlds (reality / theater / scene / backstage / interior / exterior / subjective / objective) provided a clever commentary, a surprising change in perspective, and a significant emotional impact. But from beginning to end, Birdman looks like transparent theater - sometimes (praise god) funny, but mostly only fanfare showing off its own erection. I agree with Matty's observation about the blurring of dividing storylines, which are the basic principle of the whole structure. In my opinion, the film is dull and anachronistic. Conceptually, but as a result, also formally. And unfortunately, this is not the kind of dullness that would entice a person to a greater reaction. At least not me. [60%]
()
Unbelievably engrossing, “cut-free" format and meditation over the integrity of personality and acting work 100%. If you don’t count the BMW advert, this is my first encounter with Iñárritu and I was completely smitten. Even when it comes to humor (my girlfriend laughed, I laughed and the remaining 5 members of the audience laughed too) and the drum orchestration packed with emotions. Biting into critics, satire on theater, movie and comic book gibberish is mixed with tribute to all of these things. A massive comeback by Keaton and Norton, and Galifianakis can really act. A great watch, packed with bits and pieces which force you to watch it again.
()
Iñárritu's debut Amores Perros once knocked me off my feet and I developed a special relationship and understanding with this Latin American director. None of his other films surpassed that debut, but I never gave Iñárritu less than 4 stars, simply because it wasn't necessary. I went into Birdman with a sense of certainty that I couldn't go wrong regardless of the positive reviews, yet after just ten minutes, I felt that I was missing the director's vision of the world this time. With every passing minute, my displeasure and rejection of what I saw grew. On the way back, I drove through red lights at intersections, scaring pedestrians on crosswalks with a devilish laugh. But that still didn't help; I had a perfectly ruined evening. If I had relied solely on emotions, it would have turned out even worse than a mere 2 stars, but I can't deny Iñárritu's formal filmmaking quality. I simply don't like theatrical, pretentious, and affected films. I avoid the term pseudo-intellectual because it is often used by ultra-right-wingers to label uncomfortable individuals, but the term pseudo-intellectual fits this film like a screw to a nut. A typical example of midcult, desperately pretending to have intellectual depth. Some time ago, a doctor diagnosed me with a throat infection and prescribed a treatment regimen. After completing it, I locked myself in the toilet for two sunsets and observed my stool to see if I was okay. I find Iñárritu's approach to be similar to that unpleasant activity of mine. If there's anything I can appreciate, it's Edward Norton's performance. His confident and spoiled theater star played with pleasure is the highlight of the film; this type of selfish jerk suits Norton perfectly. Emma Stone's presence was also nice. I anticipated the Academy Award nominations for her, and I think this kind of artistic torment and perspective suits her perfectly. Personally, I say - never again to this film... Overall impression: 40%.
()
All the brooding, sadness, decline, or self-examination may not be too original at its core – but that infinitely perfect form is. After two breathless and witty hours, it is almost irrelevant that Alejandro González Iñárritu, as is his custom, once again goes too far and shows even what I don't really need to see or hear in order to understand or enjoy it. Michael Keaton and Emma Stone, however, pass and play solos with such captivating pacing that in the escalating scene of the final performance, I forgot to breathe.
()
I know of better films about the plight of acting while paying homage to the work of the theatre. This is nothing but an attempt at an artsy film of the European kind, but by an established Hollywood filmmaker, where the supposedly uninterrupted narrative (achieved, of course, by flawless digital effects) is only a mannerism, like Edward Norton's repeatedly discussed hardened penis. It didn't touch me, not at all, neither mentally nor emotionally. The only exception is the scene of the emotionally strained conversation with a theatre critic about the nature of professional criticism and then Birdman's words about the vapid taste of the average dimwitted viewer, which I would chisel in stone. Of course, I would wish the Oscar to the phenomenal Michael Keaton with all my heart, if only because he is such a likeable guy and his life's fate is a bit like Riggan's.
()
Ads