Birdman or (The Unexpected Virtue of Ignorance) (2014) Directed by Alejandro González Iñárritu. Starring: Michael Keaton, Zach Galifianakis, Edward Norton. IMDB says: “A washed-up actor who once played an iconic superhero must overcome his ego and family trouble as he mounts a Broadway play in a bid to reclaim his past glory.”
Part of me just wants to write one sentence for this review: Stop what you’re doing, cancel all your plans, and go out and experience this film now. That’s the best way to describe how I feel after seeing Birdman or (The Unexpected Virtue of Ignorance). The opening scenes of the film left me paralyzed. That’s the only word I can find suitable to describe the levels of mystifying intrigue I felt as the film unfolded before me. The world around me disappeared and it felt as if it was only me in the theatre and not the hundred or so in attendance. This film and these performances were just for me. I’ve never felt that way in a theatre before. Sure, there were a few chatty Cathys, some crunching of candy wrappers, and an old couple two or three chairs to the left of me who wouldn’t shut the fuck even if there was a gun to their heads, but it didn’t matter. This film had stretched out its arms and wrapped me in such a warm personal embrace; the world around me didn’t exist and I never wanted that feeling to end.
Birdman is about Riggan Thomson (a stellar Michael Keaton, seriously, where has he been??) a washed up actor know for his role as Birdman. He’s decided to reinvent his career by pouring all of his money into a Broadway adaptation of which he is the writer, director, and star. The film focuses on the strong of previews leading up to opening night. Yes, Keaton is the lead, but the rest of the cast (Zach Galifianakis, Edward Norton, Andrea Riseborough, Emma Stone, and Naomi Watts) deliver such absolutely wonderful performances, it’s hard not to see this as an ensemble piece. Maybe that’s intentional, after all, the film is about a play.
Directed by Alejandro Gonzalez Inartitu (Babel, Biutiful) the film floats along as if you were watching events unfold from the eyes of a fly. Some moments you were front and center as a character delivered a dramatic monologue, other times you just sat and lingered in a hallway during a comedic back and forth. One of my favorite things about this film is the score. It’s used as just the right time to accent a performance rather than hold your hand and suggest how you should be feeling. A majority of it is all percussion performed by Antonio Sanchez who, for those not versed in the world of jazz percussionists, Sanchez is pretty much a modern day Buddy Rich. (And I say a majority because there are a few moments where the strings swell up) There is so much more about this film I want to talk about, but I don’t want to ruin the mystique for anyone. Once you’ve seen a trailer for this film, stop. Don’t look at anything else. Go into this with a basic understanding and just let the movie magic happen. Let the movie unfold and ensnare you in what I promise is one of the best, if not the best, films of the year. There are layers and layers to this film and the best way to talk about them is to discuss it with someone who has seen the film. So do yourself a favor: Stop what you’re doing, cancel all your plans, and go out and experience this film now.
FTS SCORE: 95%