https://www.youtube.com/watch?v=xIxMMv_LD5Q

Please get Keaton an Oscar nomination. Please.

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I loved that final little bit in the trailer fighting Edward Norton cause you know why.

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surreal nightmare

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Wasn't blown away by 21 Grams or Babel (didn't see Biutiful) so it would be nice to see I�arritu knock another out of the park. Although Amores Perros is one of those cases in which it'll be hard to top your debut.

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and incredibly sad...

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"You can't beat white people. You can only knock them out."

heart crushingly sad

the exploration of immigrant life and the network of informal economies in a globalized world juxtaposed the spiritual and broken love angles, man listen

Is so worth seeing
But really for a day you can handle heavy emotion
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Babel was his only misstep

looks like there is a bit more light heartedness here than in his other films, which is a positive.

And the Meta-ness that this seems to have with Keaton's actual career seems perfect for the surreality in the trailer.

nm

--

"You can't beat white people. You can only knock them out."

Only complaint I have is that the drum score got to be a bit much at points.

Shit gets an A+ across the board nigga.

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America from 9:00 on: https://youtu.be/GUwLCQU10KQ

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America from 9:00 on: https://youtu.be/GUwLCQU10KQ

For a farce, it's not especially funny. For a satire, it's painfully broad. And the surrealism is almost entirely unnecessary-- it's classic Inarritu to want to do a bunch of things in one film and as a result undermine the whole (as a fan of surrealism, I was most disappointed by the uneven application of these elements).

I was really hoping having the Lubezki single take cinematography and the comedic tone would help focus Inarritu's vision (I was excited as fuck for this movie), but instead we get Inarritu trying to tackle a ton of subject matter, Characters Saying Exactly Who They Are And How They Feel, and at the end of the day no more than, as one character screams in the middle of the film, a tale of sound and fury signifying nothing. A lot of loud drums, a lot of loud screaming, not much to say that hasn't been said in a more focused and concise manner.

The acting is beautiful all around (Keaton, Norton, and Stone in particular-- Inarritu doesn't really know what to do with the older female roles), and the cinematography is also typically gorgeous... but Inarritu even tries to fuck that up, as the whole point of the single take is to give us Keaton's POV (is this a dream? are his delusions real? is he losing his mind? what's real/what isn't? etc), but he takes long stretches away from Keaton's character for no real reason (in particular, Norton and Stone's scenes, which are nicely written and well acted, but add up to absolutely nothing), which then leads you to wonder the point of the single take other than the fact that it looks cool.

Which ISN'T to take away from films that are technically masterful, as we need more of them, so on that front, Birdman is absolutely worth seeing. But I'd heard it was brilliant and I'd really really hoped it was brilliant. I love the actors, I love backstage comedies, I love when directors incorporate the surreal, I love the concept, I love the trailer. Instead, it's only got moments of brilliance amidst the clutter.

Edit: I agree nearly entirely with James Rocchi's thoughts here: http://www.film.com/movies/review-birdman

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I think they needed that messiness to play in. Like a place that helps you think about Keaton and his personal life. Or actors vs. media machine vs. ego..etc

My friends and I think about films with two audiences in mind- the geeks and non-geeks. That messiness is for the non-geeks, not looking for beautiful cinematography, techniques, structure..etc Without that mess you'd have a classic, that would go over folks head. Insulting their intelligence, thus making them say they hated it (because they didn't understand it or whatevs, which happens.. you know?)

a few things-
We were theorizing last night after--
could you feel the actors struggling? not so much to remember lines or anything but.. to me it felt so theater- so new, that the actors were raw right?
the homies think they were 'struggling'-
Keaton, Galifinakis were the most non strugglers tho

ps. Galifinakis has definitely shed his goofball image with this!! Bravo!! he outshone Keaton sometimes, for real!
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I just saw this flick two days ago. Perfect reply.


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i agree totally.

fuck you.

If a movie is a mess, but they can strike the right chord at the end, I'll usually give it some leeway.

Instead, it struck precisely the wrong chord.

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I have to disagree that it was a "mess", at least in the negative way you're saying...it was definitely shot in a frantic and schizo way, but in my mind that was an intentional choice to mirror Riggan's life and personality. I think nearly every scene was valuable/entertaining, added depth to character, and/or improved the movie in some way. I'm wondering if you were looking a little too hard for some big clear message behind the movie...for example, you mentioned Norton and Stone's scenes not adding up to anything. I say who cares? They were executed perfectly as to give us more insight into their characters and entertain us. It's rare to come across a movie with such fleshed-out, memorable characters with not much screen time.

.

Loved this.

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Very enjoyable experience, well done all around. Oscar nods, hopefully, for keaton and norton.

really loved the craftwork throughout but I didn't come away from the movie with any real feelings about anything. it just sort of happened to me.

I have praise for every individual part of the movie but not much praise for the full thing.

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Without a doubt, the best thing to come out this year.
Makes up for the lackluster 2014 for me.


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"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Finally saw a Stone performance I can clap to too

this was his best since though

and that's saying something because 21 Grams and Biutiful were great as well

and I liked Perros

Its actually not a mess at all and the exploration of mental illness juxtapose the "filmic" essay about the state of commercial art vs art for arts sake was blended very nicely by Ale Dawg

It was also a nice departure from the overtly national and international politics of his previous films. The tone shift was nice as well. The emotional and spirtual drain of his past work is replaced by a more fantastical imaginary and dark humor

Then there's the acting and camera work. Shieeet. Emma made me a believer in her acting chops and Ed Norton had me fucn. As for the camera shit. I was really in awe many times even if he over did the radial close ups.

Soundtrack and sound design was perfect as well.

Just a great movie. He ALMOST lost it with that final act, but it held on just enough. The end end tho, was a bad decision

literally the week before, the story inside the story resonated even more clearly for me

I wish Ale Gawd would've gone with "Gazebo" or "Mr. Coffee and Mr. Fixit" for the play instead of the title story.

Not because it's ambiguous, but it seems like kind of a cop out.

Keaton was fucking stellar, though.

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I loved everything about it. Multiple great characters with alot of depth, sharp screenplay, amazing acting, amazing directing. Hilarious and sad. So cool how they shot Keaton's character to seamlessly blend real life and the stage, like there is no separation at all.

One of my favorite scenes is when Keaton confronts the critic in the bar...goddamn that was powerful.

How old is she now?

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I'd put it in.

I really liked it. Strange, but topical with the amount of big budget comic book movies coming out. I dug the different take on the situation.

Keaton is excellent, he absolutely should get piles of nominations. The rest of the cast was great too. I went with a buddy, and we agreed that we couldn't think of an Edward Norton performance we didn't love.

Inarritu's direction is truly phenomenal. He was using camera tricks galore, I couldn't tell you the first thing how some of those shots worked. How many shots did he film the movie in?

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Are yall referring to the jump itself or his daughter looking up?

IMO the jump made a lot of sense and the looking up fit with the themes. They could have saved that bit, but I don't think it was a copout per se.

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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

the 99.9% of the rest of the film

I think he had to jump. i mean i expected the self inflicted gun wound to do the trick but after that he had to jump. primarily because of that scene when he's talking with birdman about how horrible his life was at its height. he didn't want the success that was about to come to him.

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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

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it's not like her looking up is supposed to make us believe he's still alive.

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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

That he's flying.

And since the movie had firmly established that his fantasies were just that-- Inarritu spoiled the illusion that we were within his hallucinating POV with that cab driver bit, just to make sure we knew there was no ambiguity regarding his fantasies-- so to backpedal on that for some sort of pseudo-spiritual, lamely "redemptive" beat to end the film made me wildly frustrated. I probably liked the movie more than I felt I did largely because of how it sent me out of the theater. A sour note ending can magnify any negative feelings you have about parts of a film.

Hallucinations are a tightrope to walk: either keep us in his POV, in which case you can play with the idea that he's flying at the end, or don't, in which case you can't sell us on another character seeing his fantasies. He broke the POV, so Stone can't see him fly. (Maybe I hated that cab driver bit more than the ending... but one of them has to go for that element of the film to work overall.)

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i'd say the POV shot got ruined way before the last shot though so it's a question of intended use vs perceived use. your perception is apt, but it may not have been his intent.

but at the end of the day i don't think we're supposed to believe he's alive, just that his daughter, his own flesh and blood could see him for who he 'really' was.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

And crying would have been so basic and plain and sad

The film ended how it was supposed to, he was free from all his internal bullshit and from the perspective of the film maker, that was no horror

Or he went out on a high note, again no horror there

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believe in love, prepare urself for love, remove the negativity from ur life, and accept the love u kno u deserve

I just personally found the pseudo-spiritual ending to be the wrong choice, for a number of previously-detailed reasons. I don't know what I wanted, but I know I didn't want that.

Just my personal opinion. Most people disagree, which is fine.

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a bunch of interesting elements that never completely came together. the supernatural/imaginary stuff never makes much sense, and the movie actually would have been better without it. the long-take thing was completely unnecessary and became distracting and obnoxious after about 15 minutes. they were so preoccupied with whether or not they could, they didn't stop to think if they should. i can think of some stories where the long-take thing would work and add to the movie in some real way, this wasn't one of them. keaton was awesome, worthy of the hype. norton too. the dialogue was snappy, exhilarating at times, but again after a while even that failed to hold the story up. not much else about it is worth seeing.

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Birdman but I done put it together now. See Birdman is like watching a beautiful bird soaring in the air on a bright sunny day. the bird winks at you and idisappears for a second and then you realize you got bird doodooon your head. lol
Did that make sense?

Birdman is a funny movie about miserable people but it ended on such a sour note. During Birdman's third act i am like wtf? As i was walking out the theater i forgot the movie was a comedy. Just odd, did not really work for me. What was the purpose of the lesbian kiss?

They had a good thing going but put too much trippy shit in it.

Grade B+

Impressive in the way a vuvuzela virtuoso might be

...nah, I'd probably enjoy the vuvuzela virtuoso

But its like watching 10 people craft the most amazingly intricate birthday cake you've ever seen out of earwax and hairballs and then shoving it into your mouth

Best Picture.

My reaction was "oh, this won best picture because Hollywood loves navel gazing".

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Stayed up way too late to finish it, but glad we did.

Regarding the ending though... I thought it was perfect. I didn't think this initially, but the wife is the one that pointed it out: Riggan didn't die in the hospital, he died in the theater. Everything that happened in the hospital is basically HIS perfect ending: the adoring masses, the amazing NYT review, the loving ex-wife, the doting daughter looking up (and the lilacs, no doubt). Even his "acceptance" of Twitter is part of the dream ending.

The telltale sign is that his nose, while beaten and bruised, is perfectly intact, which directly contradicts him "shooting off his nose". He's resolving every single insecurity in his life, but his ego still won't let his dream self have a fucked up nose, hah.

But yeah, he died in that theater. It's why people were so shocked and stunned, and it's why we see Tabitha leave the theater in obvious disgust.... because she's the only one that immediately knew he's dead.

You're a very perceptive dude.

But can't take credit, wife called that one out though.

Thinking about it further though, while I'm convinced he died in the theater, I don't think his "dream" ending would have been too far from the truth had he not killed himself.

The outburst at Tabitha, the bender and the rooftop were all pure catharsis. It's obvious that led to the performance of a lifetime and it'd be safe to assume that resounding ovation was well deserved, real gun or not.

He also had moments of reconciliation with all those who meant something to him, even his fuck buddy.... while it's notable that Mike Shiner played no part in his dream.

All together, it's what made the hospital scene so believable (except his nose, and his daughter looking up).

Granted, if he weren't dead then Tabitha would probably still have killed his play, but then it would have run directly counter to the audience reception. Not like that would be anything new, but still interesting to think about.