"Birdman" a home run

"Birdman" Review

March 2016; based on notes on time of my theatrical viewing

Theatrical viewing: sometime in spring semester 2015            

           I like to think of movies that fall into two categories. There are movies. Movies are what people go to escape life, and maybe watch robots destroy each other, or a man in a metal suit save the world, again.

            Movies, simply, are what make money. They sometimes have big budgets, and are more often than not viewed as art forms.

            Then, there are films. I mean artful movies that dazzle, encamp, shine, and otherwise display elements—plot, characters, a good script—that attract attention and buzz of the Academy Awards. “Birdman” is one the films up for this year’s Best Picture nominations. (as of this piece's notes, written in 2015).

            As a radical departure from past Michael Keaton movies, this is not a feel good movie. This genre-bending film is listed as “drama, comedy” under the Internet Movie Database (IMDb) web site, and “feel good comedy” it does not match. Keaton, who has himself seen a career slowdown himself since sleeper horror hit “White Noise” last hit the big screen a decade ago, has mostly held small roles in movies since.

He stars as washed-up actor who is trying to make ends meet financing his first Broadway play with his dramatic producer (Zach Galifianakis) and runs into issues with his ex-wife Sylvia (Amy Ryan) girlfriend Laura (Andrea Risesborough) and troubled daughter (Emma Stone). The kicker in the movie is that Riggan is then forced to hire an additional cast member infamous for his talent, and tumultuous personality (Edward Norton, in a sense playing himself).

It is many of these relationships with the women in his life that make his life additionally complicated. On top of all this, his feathered alter-ego keeps talking to him, adding conflict. It also shows Riggan’s duality: a desire to be an artist, as well as his desire to be a young action star again.

            That is basically the plot, but it is not solely the plot that makes this film hyped up: the acting performances are terrific. The cinematography is actually something new. There are no camera “takes,” but rather one continuous take that flows and moves slickly. It recalls Martin Scorsese, perhaps as an ode. Or, perhaps as something new. It makes for an artsy feel.

            It is important to finally note why this is not a “feel good movie.” This is because it deals with many real-life issues. Loss of self-respect is continued here, as Riggan eventually admits to as well other dynamics between characters show appear to show the face behind the actor.

            Although “Birdman” will not make you feel good, the collaboration of on-and off-screen talent makes the day for the excellent film that is “Birdman: (or the Unexpected Virtue of Ignorance).”