Birdman (2014) by The Critical Movie Critics

Movie Review: Birdman (2014)


“For what else is the life of man but a kind of play in which men in various costumes perform until the director motions them offstage?” – Erasmus

Once you add up the upcoming films from Marvel and DC studios, there are twenty-two “superhero” films being planned over the course of the next four years. Though decried for their paucity of artistic merit, what is often overlooked is that these films — with their depiction of a magic pretty much gone from some of our lives — are not only popular because of their enhanced action scenes but fill a void in the current paradigm saturated by a a materialistic culture that does not reflect our personal power. Of course, for those who feel their acting talents might be better utilized, these films are not their friend.

Case in point, Riggan Thompson (Michael Keaton, “RoboCop”) whose career in Hollywood took off with his role in the superhero film Birdman (or “The Unexpected Virtue of Ignorance”), the title of the new movie by Alejandro González Iñárritu (“Biutiful”). Though he has played other roles since then, the only one that prompts requests for his autograph is Birdman. Frustrated with how his career has become sidetracked, Riggan has turned to Broadway for redemption. Now middle-aged, Riggan attempts to resurrect his career as an actor by writing, directing, and starring in an adaptation for the stage of Raymond Carver’s What We Talk About When We Talk About Love.

Shot by cinematographer Emmanuel Lubezki inside and around the landmark St. James Theater in New York City close to Times Square, the film follows Riggan’s frenetic attempts to put the show together despite overweening self doubts and a roller coaster relationship with the cast and crew, especially his co-star Lesley (Naomi Watts, “Adore”) and girl friend Laura (Andrea Riseborough, “Oblivion”). Also in the picture is Riggan’s daughter Sam (Emma Stone, “The Amazing Spider-Man 2”), a production assistant who has recently been released from rehab.

Still resentful of her dad’s absence during her formative years, Sam is very critical of his refusal to use social media as a means of promotion. “You don’t even have a Facebook page,” she says. It’s like you don’t even exist.” Iñárritu creates a frenetic pace with long shots following different actors, while weaving in episodes of magic realism that include scenes of flying and the costumed Birdman, aka Riggan’s conscience, following him with advice about making another superhero movie. “Those people don’t know what you are capable of,” he says.

When one of the primary actors is hurt during rehearsals, he is replaced by the volatile Mike Shiner (Edward Norton, “The Bourne Legacy”) who gets into disputes with Riggan about how each scene should be performed while blatantly pursuing Riggan’s daughter, though he tells her he can only perform on stage but is impotent off the set. The three preview performances do not go well and a meeting in the bar with the highly critical New York Times theater critic (Lindsay Duncan, “About Time”) who rails against actors and threatens to “kill the play” leaves him in a state of despair, underscored by his encounter with a street actor shouting the Shakespearean lines from Macbeth about how “tomorrow and tomorrow creeps in this petty pace from day to day.”

Aside from his lawyer and best friend Jake (Zach Galifianakis, “The Hangover Part 3”), Riggan’s main anchor seems to be his ex-wife Sylvia (Amy Ryan, “Escape Plan”) who provides him with the ego boost he so desperately needs. In its attempt to create a satire reaching for wit and originality, Birdman touches on but mostly skirts around several different themes: The inability of an aging actor to adjust to a changing environment, the nature of our true identity beyond the roles we play in life, the art versus entertainment conundrum, and the inordinate worship of celebrities in contemporary culture.

Unfortunately, despite an Oscar-worthy performance by Michael Keaton in a welcome return to the screen and the film’s engaging moments of true energy, Birdman does not pause long enough between the drumbeat of a jazzy score by Antonio Sanchez, the lugubrious strings of Tchaikovsky’s Fifth Symphony, a pseudo-profound spirituality and its juvenile humor, to say anything meaningful about any of these subjects.

Critical Movie Critic Rating:
3 Star Rating: Average

3

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'Movie Review: Birdman (2014)' have 9 comments

  1. The Critical Movie Critics

    October 25, 2014 @ 8:33 pm Giraffe

    Howard, you stand alone on this one. All of your respected peers are singing the praises of Birdman.

    Reply

    • The Critical Movie Critics

      October 29, 2014 @ 12:32 pm Howard Schumann

      No, not quite all, but most. Here is a review that agrees with my view.

      filmfreakcentral.net/ffc/2014/08/telluride-14-birdman.html

      In any event, I have to come from my experience and can’t be too concerned about what others may think, though I am always interested in (and can learn from) other points of view. There have been some highly praised films in recent years that have now been almost forgotten.

      Reply

  2. The Critical Movie Critics

    October 25, 2014 @ 8:41 pm didie

    It’s not playing anywhere near me. :x

    Reply

  3. The Critical Movie Critics

    October 25, 2014 @ 9:10 pm vi-pi-en

    The move is really well done. I don’t think it was made for mass audiences though.

    Reply

  4. The Critical Movie Critics

    October 25, 2014 @ 10:37 pm Thiam

    Herd many pleesing things for Birdman movie.

    Reply

  5. The Critical Movie Critics

    October 25, 2014 @ 11:08 pm Kaztro

    I hope this gets a wider release soon, it is the one movie I really want to see and the closest it is playing to me is almost 100 miles away.

    Reply

  6. The Critical Movie Critics

    January 25, 2015 @ 1:10 am JJ

    I thought it was quirky and entertaining movie BUT nothing more. however I thought Keaton was GREAT, never better.

    Reply

  7. The Critical Movie Critics

    February 7, 2015 @ 5:08 am P.V.

    Thank god for Howard. Maybe one of the few honest reviews. It would also be a much better film had it ended one scene earlier.

    Reply

    • The Critical Movie Critics

      February 28, 2015 @ 11:23 am Howard Schumann

      Thank you very much and thank God for all of us. Can’t assume, however, that all those who liked the film are not being honest.

      Reply


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