MovieMeditation's Cinema Reviews

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I dont share your infactuation with Boyhood, it is at best a decent mainstream film imo, but very well written review!

If you live in Copenhagen i would urge you to go see The Mirror in Cinemateket the 20th of December!

It could be nice to see you doing a review of something like that, which is a bit more radical!



Gooble gobble, one of us!
Det er svært for mig at finde nogen som helst form for information om visningen i cinemateket. Har du et link eller andet så jeg kan få en bedre idé om filmen og arrangementet?
Du kan vel bare gå ind op hjemmesiden her: http://www.dfi.dk/Filmhuset/Cinemate...=all#cinematek

Du burde kunne finde alle events på siden, de plejer også at lave nogle slags programmer, f.eks. russiske film som der kommer snart her: http://www.dfi.dk/Filmhuset/Cinemate...?serieID=10404

De viser et par Tarkovsky film, og Eisenstein's Ivan The Terrible, part 1-2 og meget mere.

eller "ønskefilm" som bare er film folk gerne vil se derinde. De viser Apocalypse Now 35 mm snart igen her på linket: http://www.dfi.dk/Filmhuset/Cinemate...?serieID=10468

Som regel hver måned starter der nye serier, og nye events osv. Håber det her hjælper

EDIT: I didn't see your edit.. but still, check out the other films playing as well



I think that Ivan's Childhood is the easiest way to get started with Tarkovsky. It is not as complex as his other films, yet quite beautifull.

The Mirror is pretty much a mind**** if you havent had any experience with Tarkovsky, but its still a wonderfull experience



Master of My Domain
Awesome reviews! I like the fact that unlike some reviews it's not just a wall of text and it had your own style to it, which made reading it way more enjoyable.



Movie Review: Gone Girl (2014)


David Fincher is back and continues his intelligent and razor sharp ramble down through the sinister and seductive thriller universe...

Back in 1995 the talented director truly showed his audience how to make a genuine crime thriller, with the unpleasantly pleasurable 'Se7en', and later how to let deeply dark humour flow unhindered together with some of the same elements in the movie 'Fight Club'. But it was not until 2007 that Fincher returned to the despicably decent entertainment with the murder thriller 'Zodiac'. It is also as clear as filtered blood (that is as clear as it gets for Fincher-films…), to see Fincher’s love for movies with a complicated plot and a sophisticated ensemble of star actors who competently awaken the sharply written script pages and bring them to life. David Fincher has also made the decision to remain in the same territory of genre throughout a big portion of his films, and while ‘Gone Girl’ suggests a recognizable set-up, it is a different and far more experimental Fincher who comes out on the other side...


The Story
'Gone Girl' is based on the novel by Gillian Flynn, and is centres around two writers, Nick and Amy, who meet at a party in New York. They quickly fall for each other and their relationship seems to develop into something truly special. But as the couple's love for each other is put to the test over time, a noticeable distance between them starts to arise. Their relationship gradually begins to splinter, only to collapse into small illegible fragments, which makes it even harder to save what Nick and Amy once had – or did they in fact even have anything to begin with? The questions remains without a clue until but one day, when Amy mysteriously disappears and it suddenly becomes tougher and more difficult for Nick to keep the dark secrets hidden, and both the media storm and police investigation slowly works itself closer to revealing the terrifying truth about this couple's complex relationship.


David Fincher is back home once again in familiar and comfortable surroundings, though this time the subject matter is marginally more abstract and twisted than previously seen. 'Gone Girl’ is an (un)pleasantly satisfying breath of originality, from a director who perhaps wasn’t exactly in shortness of breath, as he delved deeper into the criminal underworld – far from it actually – but still in some way needed to come up to the surface to breathe in fresh new ideas. Fincher is still one of the most consistent directors working today, and his high level of quality isn’t exactly what you would call “hard to spot”. The familiar dark and sadistic atmosphere is not to be mistaken nor is it an area he ever failed in.

It has certainly been a pleasure to follow Fincher’s successful career being pushed out into the world with steady and controlled hands, although you might miss a reunification with the more experimental and playful side of the director, as we are familiar with from 'Fight Club'. It doesn’t have to be the gigantic homecoming, if just Fincher once in a while would poke his head out from the darkness, and simply move the foundation around a bit, just for the heck of it. It appears, however, that the director himself has also longed for exactly that, because with ‘Gone Girl’, it finally seems like Fincher has found the motivation to open up wide for a lovely smile, even when it is time to get some teeth pulled!

The tone of the film may at first glance seem strangely imbalanced, with the style of storytelling coming off almost surreal in its approach. All you need is a little time to click with Gillian Flynn's uniquely written script and its dominant novelistic monologues, before you can ultimately enjoy the undeniable beauty, among hidden tragedies. But just as one feels like finding both tone and approach, it doesn’t take long before you need to restart the search all over again. 'Gone Girl’ is constantly evolving through every second of its 149 minutes, and there is an interesting mind game going on of which you never get tired of playing. It is obvious that a few chances has been taken with this film, and it is wonderful to see that Fincher isn’t one tiny bit afraid to do some experimenting even this far into his successful career. Besides the atmospheric shifts of the film, there are also plenty of shifts in time. And while the extensive gaps of time aren’t executed as elegantly as it was the case with Fincher’s 'The Social Network', it is still a well-functioning composition of a story, which already doesn’t belong in the category labelled "standard movie material".


‘Gone Girl’ is a bloodcurdling affair, but nonetheless, in the end you will eventually take off your hat and bow to Fincher’s brain-wrenching psychological “game of guesses” – it is a wild, strange and almost psychotic kind of character study, while also being a textbook example of well planned and thoughtful plotting – and yet, still damn good entertainment! A date movie that has had its very heart turned inside out and brutally beaten beyond recognition. But if only you see it all from just the right angle, then you might spot the little hints of a tender and quite perfect marriage – but most certainly also the complete and absolute opposite.



The Acting
The role of the main character was reportedly given to Ben Affleck because he himself has had his fair share of frightening experiences, with unacceptable harassment from the media and extremely disturbing attacks on his private life. Affleck also does a fine job in the role of Nick Dunne, but as always he seems a bit too faceless and restrained. To me Affleck’s acting has always been a bit too wooden for me. Obviously the role doesn’t ask for you to excessively and inappropriately swing your arms around all over the place, expressing ones feelings with the outside instead of the inside, but not even his inner struggle shines well enough through in his performance. In contrast, Nick Dunne’s anniversary associate and adversary, Rosamund Pike, does an absolutely phenomenal job in the role of the infamous "Gone Girl". Honestly, I hadn’t heard or seen much of her before this film, but now I will surely never forget her. It is an achievement I hardly want to go into details with, since the effectiveness depends heavily on the element of surprise and the audience's own interpretation of the character.

Neil Patrick Harris is also to be found in the movie, which might sound like a strange casting choice, but I can tell you that it is working on a tolerable level without being truly admirable or truly awful. Another odd choice is the role of the lawyer, Tanner Bolt, played by Tyler Perry; an actor best known for jumping in women’s clothing and acting like a complete clown. Here, he brings a sophisticated ambience to the film, and he doesn’t hesitate bringing some sharp remarks to the table either. Carrie Coon is another actor that totally and impressively took me by surprise, in the role of Nick’s sister, Margot Dunne. There is not much negative to say about the acting in the film and in general the level is really high as it is often the case with David Fincher movies.




The Visuals
Fincher's films are always a wild experience to disappear into, and often it is due to the sublime visual aspect, which easily and efficiently follows the storyline hand in hand. 'Gone Girl’ is, like its two predecessors, a perfect collaboration between Fincher and favourite photographer, Jeff Cronenweth. It is evident to spot all the distinctive fingerprints across every surface and in each and every corner of the film, left behind by both director and photographer. Fincher's latest film is also keeping up with the usual nighttime strolls, down the familiar gloomy and yellowish paths that we have come to know so well from his previous works. Certainly, it is a very appropriate atmosphere that is created, but this is also an area where Fincher has made the choice not to renew himself all that much. The editing on the other hand, has always felt fresh and creative in Fincher’s films, and there is a scene in particular that comes to mind involving a bed, some intense romance, and an item not usually common in or even around a bed – that scene is directed and edited in such a breathtaking and shocking manner, that whatever room might be left for improvement, is pretty much filled up to the brim here.


The Soundscape
As it was the case with the visuals, Fincher has also made the decision to turn towards some recognizable pitches when the soundtrack was to be constructed. The dynamic duo, Trent Reznor and Atticus Ross, were behind the soundtrack to both 'The Social Network' and 'The Girl with the Dragon Tattoo', and therefore it was almost predestined that they were to help with an instrument (or many) in the sound mix for Fincher's latest film. The soundtrack is a phenomenal composition of “pleasant unpleasantness” and transfers smoothly to the same tonal dilemmas as the story holds. You never know quite what to do with yourself when the soundtrack really begins to almost demand its hold, and as is the case with the story, one is never truly sure whether or not the soundtrack aims for the lightness or for the darkness. These mysterious and quite mesmerizing notes play perfectly alongside the story of the film, and give the audience's inner ear their very own mystery to solve. The soundtrack is almost an experience in itself, which surprisingly manages to be discreet and dominant at the same time.



SHORT SUMMARY 'Gone Girl’ is a film you are guaranteed to want to disappear into, even if it may be far from your usual movie watching habits. The film has enough mystery and sharp turns to leave you tossing and turning in the cinema seat up to several times, and it is certainly also a movie that will make you think twice about entering into a marriage with the "woman of your life " – You have been warned…



overall rating:



Thanks neiba for the kind words! I truly do appreciate it!

After all, all this is really for y'all in the end, so if you hate what I do we have a problem haha.

Thanks again.



MovieMeditation presents...
Movie Review: Nightcrawler
written & directed by Dan Gilroy
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The city shines brightest at night...
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'Nightcrawler' is written and directed by newcomer Dan Gilroy, who incidentally, is also a relative of screenwriter and director Tony Gilroy. Tony has, among other things, sat firmly behind the typewriter of the first three Bourne movies, and even stood behind the camera himself on the fourth one. Anyhow, we better return to the rightful and relevant family member in this discussion, and point out right from the start, that it is certainly not a weak commencement that Dan has received in relation to his career. While 'Nightcrawler' is indeed Dan Gilroy's directional debut, he still managed to get Jake Gyllenhaal on board both as a producer and in the leading role, with Bill Paxton and Rene Russo in complementary roles and veteran cinematographer, Robert Elswit, in charge of the visual department. So how does he handle his debut? Surprisingly well, actually...

______________________________________________




The Story
'Nightcrawler' has its spotlight focused upon the unemployed and desperate Lou Bloom (Jake Gyllenhaal), who makes a living out of stealing other people's private property and later sell them off. Lou has, in connection to his life at the bottom, developed a cold and cynical way of thinking, wherein the very lives of other people lies completely and carelessly on the outside of his figurative “focus zone”. As long as there is money to collect at the end of it all, it doesn’t matter how uneven and obscure the journey may get. This virtually venomous descending spiral has ultimately spun Lou Bloom’s life completely out of control, and not even the lowest-paying jobs or the distressed offers to work for free get Lou active and occupied in the labour market.

But one evening, when Bloom accidentally ends up in the middle of the merciless mayhem of television reporting, he suddenly knows exactly what his next big step in life will be. Now, Lou Bloom wants to be entirely accountable for his own career; and merely by the necessities of his car, a camera and a police radio, he is dressed in the guise of a dark and determined “footage hunter”, ready to capture Los Angeles at its most shocking and gruesome. Bloom’s carelessness quickly makes him notorious at a local TV station of which is lead by an editor, who herself, is also desperately in need of someone like Bloom to raise her ever-reducing ratings… And just as Bloom rolls out, the money rolls in. Finally it is him who is in control, and the others who are desperate for his work. His violent and shocking images have led to cash and recognition, but ever so gently and concurrently he also removes himself from the real world, and the people who live in it.



Dan Gilroy has created a film that slowly comes creeping like a mysterious and frightening figure in the illuminating gloom of the nightlights. The movie starts small and ends big, all the while the journey there certainly isn’t without its fair share of blood, sweat – and more blood! It is effectual “movie manufacturing” of the uppermost quality, and both Gilroy and Gyllenhaal know just how to actively raise the ratings in theatres worldwide. 'Nightcrawler' is a murky and rather extreme experience, where the dark undertones of the story, acts like a shell slowly getting crushed, only to reveal the gleaming little gem hidden inside. For it is certainly not a pleasant film to live through, and especially its picturesque projection of the barbarous perfidy of the TV medium, truly creeps uncomfortably under your skin. It is debatable, to some extent, whether the film ever takes things a bit too far, not necessarily violent-wise but also story-wise, but personally I don’t see the film as a forced depiction of the news media itself, but rather as an honest portrayal of a man’s mentality slowly but surely dissolving.

The leading role is realized by the intimidating, Jake Gyllenhaal, and though his acting skills are undeniably in perfect shape, his physical appearance remains the complete opposite, which is obviously meant in a positive manner in regards to the very nature of the character and his presence. “Charming Jake” has actually lost 30 pounds to be able to crawl deep into the role of the metaphorical and (presumably also) literal hungry reporter. A frayed exterior with prominent cheekbones and long greasy hair works seamlessly with his unstable and psychotic interior. His twisted personality also contributes to a surprisingly humorous film, and instead of a boring social commentary the film turns to controlled pitch-black satire – but without ever losing sight of its true message. The film doesn’t judge its characters either, a bit like it was the case with Martin Scorsese's 'Wolf of Wall Street' from last year. 'Nightcrawler' possesses the same unethical and ruthless atmosphere; all the while the audience is left in the position of doing the justice themselves, over the film’s characters, as it feels appropriate. However, it could perhaps be predominantly desired that Lou Bloom had been just a bit more human, even if his camera assistant might be the one acting as Lou’s obstructionist counterpoint. Seen from Lou Bloom’s perspective nothing is morally incorrect, as long as he is there to record at the right time, and the money ends up in the right place… his own pocket.




The Acting
As mentioned in the previous section, Jake Gyllenhaal delivers a chillingly good performance in the role of Lou Bloom. Both his physical and mental presence is felt through the film, and above all it is a truly interesting character to follow. And although the title of the film may mislead you, Lou is not a superhero who fights crime, nor does he really belong on the other side of the law – he runs around right in the centre of it all, amidst all the chaos, and does everything to get it on film. Exactly that motivation and attitude could clearly be felt through Gyllenhaal's dark portrayal, which really sticks with you, without ever being overplayed or too dominant.

Bill Paxton is also to be found in the cast, and without shining too much, he does a fine job as Bloom's archenemy in the competitive rushing of television reporting. Except for Jake Gyllenhaal though, it is especially Rene Russo who is really prominent as the desperate television editor. She acts almost as a further development of the Bloom character; grinningly accepting all the grotesque video clips that Lou brings in at rapid speed. Therefore, she is also ideal as Lou’s “admirable goddess”, who, in a slightly finer manner, holds some of the same fear-provoking traits.




The Visuals
'Nightcrawler' doesn’t try to establish a dim and colourless facade, nor is the movie playing ruthlessly around with various neon lights and artsy bright pools of water glowing evidently in the dark. Dan Gilroy and his photographer, Robert Elswit, have obviously aimed for the honest and raw “documented realism”, which helps to lift the film to a more intense level. You are often left feeling like a guilty accomplice to Bloom’s many criminal offenses, when you are dragged along with steady hands in between multiple corpses and near the heat of burning cars. Nevertheless, I still wish that the film had played around with the colossal workspaces of the city to greater extent, and (dare I say it) the all too brief handheld sequences, in between. But as a whole, it is a solid visual wander through the unedited and explicit exterior of news reporting.


The Soundscape
The tone of the film is captured astonishingly well, when referring to the fascinating and well-constructed soundtrack that it possesses. Often a bit light and other times a bit gloomy; but from beginning to end it is without a doubt a balanced suggestion on how both the story and its characters gets the appropriate auditory outline. And although 'Nightcrawler', as I mentioned previously, is not related to the superhero genre, there is still little heroic hints to find in the musical tones of the film. Deliberately? Maybe...


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SHORT SUMMARY // 'Nightcrawler' is a fascinating journey down a twisted path, which winds and turns so much, that the next destination can never be fully predicted. You are left in an almost disoriented state, once you realize that you are still alive and well, after almost two hours in nervous company of the frightening and yet so friendly Lou Bloom – a character, who has graduated from stealing people's personal belongings to stealing their full attention – and neither the first nor the second is done legally. As Lou rolls out to capture the moments, the money rolls in from the momentum of the captivated audiences all around the states. And I wonder if audiences will do the same in theatres? Certainly I can only recommend, that you ally yourself with 'Nightcrawler' for just a single night, and take a wild tour throughout the darkest streets and alleyways of Los Angeles.


FINAL RATING //



Lou is not a superhero
And all this time I thought it was a movie about the dude from X-Men. *smacks forehead*

Another excellent review, MM. Trying to influence any last minute voters for that Best Reviewer MoFie, I see. Be careful -- JayDee will end up putting out a hit on you.

I didn't get a chance to see Nightcrawler in the theater, so I'll have to wait until it's released on DVD. The trailers never did anything for me, but all the reviews I've read on here have elevated my expectations. It sounds like my kind of movie.
__________________



Lou is not a superhero
And all this time I thought it was a movie about the dude from the X-Men. *smacks forehead*

Another excellent review, MM. Trying to influence any last minute voters for that Best Reviewer MoFie, I see. Be careful -- JayDee will end up putting out a hit on you.

I didn't get a chance to see Nightcrawler in the theater, so I'll have to wait until it's released on DVD. The trailers never did anything for me, but all the reviews I've read on here have elevated my expectations. It sounds like my kind of movie.
JayDee is SO last year, I rule the reviews now!

Haha, but yeah, everybody thought it was a film about the comic book character Nightcrawler, thought it was pretty funny.

I don't expect to win the Best Reviewer, but I hope at least some will vote for me and I'll just imagine being a close second! THANKS again for checking out my review Capt. Spaulding - always with the kind words and appreciation for what I do!



Miss Vicky's Loyal and Willing Slave
Be careful -- JayDee will end up putting out a hit on you.
The boy really is playing with fire.

I mean seriously, not only is this young upstart trying to take down the king of the reviewing jungle but now he's even stealing my thunder, beating me to the Nightcrawler punch by posting first by a few hours. Just not on!

JayDee is SO last year, I rule the reviews now!
Now you're pushing your luck buddy boy!



Those are some reviews MovieMed! I don't actually like reading reviews until I watch the movies so I just look at the summaries. I will say that I'm very excited to watch Gone Girl and Nightcrawler.



Currently writing up a review exclusively for MovieForums simply because I love you all! Usually I base my reviews on those I write for my danish movie website, but this time I felt like I had watched one movie I just couldn't leave un-reviewed! And that is of course... Whiplash! And apart from that I give you all another one as well, Birdman!


COMING UP NEXT:
WHIPLASH
(2014) & BIRDMAN (2014)



Movie Review: Birdman (2014)


From Batman to Birdman...

'Birdman or (The Unexpected Virtue of Ignorance)' is produced, directed and partially written by Mexican Alejandro González Iñárritu. Furthermore, he has convinced some of Hollywood's biggest and most gifted talents to take part in this experimental and largely independent project. However, perhaps it wasn’t truly a challenging persuasion, when all five of his feature films have been nominated at the respective Oscar shows. Generally speaking, his films are also a big hit with both audiences and critics alike, even though his name might not ring any bells right away, when read out of context.

His admirable works span from the multi-plotted and complex-structured storylines seen in 'Amores Perros', '21 Grams' and 'Babel' – all the way to the more experimental and largely metaphysical – seen in 'Biutiful' and 'Birdman'. The latter of which is also the focal point of today's review, and furthermore the director's greatest success thus far; partly with nine nominations in total at this year's Oscar show, as well as two Golden Globes already brought safely home. So is this genuinely one of best films of last year? Let’s see about that...



The Story
'Birdman' focuses on the faded movie star Riggan Thomson, and his desperate attempt to reinstate himself into Hollywood’s desirable spotlight. Riggan has tried to revive his career over and over again, but find it difficult to crawl completely out of his sticky superhero persona of the past – an intrusive nuisance, which has tormented him infinitely, ever since he refused the possibility of a fourth entry in the successful Birdman-franchise. So, in the hope to be remembered as more than just a washed-up superhero-success wearing a bird costume, Riggan assumes the position as screenwriter, director and lead actor in an ambitious Broadway production. But right from the start the project is met with strong scepticism from New York's respected elite of culture and criticism. Therefore, Riggan must now show the world that he indeed has the skills to accomplish artistic miracles, which can reach significantly higher than his former feathery past. But what are the chances of great success really, when you are constantly overpowered by a myriad of personal and professional problems, and a former gigantic success, that is definitely trying to take control of your life? Can Riggan escape from the haunting illusory and find his way back to reality?

If the ignorant audience wishes to have 'Birdman' served on a shiny silver platter, then it would probably have to be admitted, that neither the movie itself nor the following review make any definitive attempt to label the film and place it confidently in its appropriate category. 'Birdman' looks like no other in its flock, and it is certainly something it dares to be proud of as well. The film is an ultra ambitious attempt to be both heroic and divergent, but the goal is not necessarily if the whole thing ever actually succeeds. As long as it is conveyed in the memory of its audience as the most insane and assertive stage show ever put to film, it is completely and conveniently satisfied with itself.



The film feels the most exciting below all of its outer spectacles, but that surely doesn’t mean that you will feel bored along the way. Fairly often, 'Birdman' offers its audience simpler superficial answers to more heavy and extensive discussions, but thanks to its technical audacity and complex staging, this understated approach actually succeeds quite well. Director Alejandro González Iñárritu presents his film as some sort of showcase for complex questioning, while the final answers are left up to each individual among the audiences. Therefore, it is far from everything of which can be given a definitive answer, but nevertheless you kind of miss a candid criticism of the countless allusions and references, which the film constantly shake out of its sleeve. All of the crazy scenarios of the film must first and foremost be sincerely fun to discuss, both to the director and the audiences alike, but if we ever arrive at a definite conclusive destination seems less important. As long as the way there is as interesting and entertaining as it can be, and that each of its discussed topics are being carefully equipped with an extended middle finger on its way through the lunacy.

The numerous discussed topics are often very subtle, but they are rarely delivered in a too sensitive manner, especially not when fantasy and reality are both being twisted and turned intensely throughout the film. 'Birdman' is certainly not afraid to take on more subjects than it has time to resolve, and while it is all very breathtaking it is also a bit suffocating to be honest. On the other hand, it seems that the film simply wants to put a lot of thoughts in motion with its audience, which it indeed manages to do quite admirably. Moreover, the film works both as a picture of the development and independence in art, and the development and tendency in today's world. It is essentially pretty impressive just how much detail director Alejandro González Iñárritu has managed to squeeze into his film. He really had to rack his brain beforehand, to ensure that every little inspiring thought or idea would eventually come pouring out. The only drawback is that you get a feeling that the film is more alive below the surface than on top of it, as the actual story never quite gets the opportunity to really take off from the ground. 'Birdman' has tons of exciting ideas, but unfortunately many of them remain somewhat unclear, and are left motionless behind instead, in this frustrated and rather empty condition.



You can say a lot about 'Birdman' as a film, but what it is definitely a wonderful example of is that daring and ambitious projects are still selling – if only they get the support they so often are left without. There are plenty of directors brimming with willpower and ideas, but without any kind of support will remain totally frozen. The similar concern can be used to characterize the title character, in his more civil and unmasked figure, Riggan Thomson. He stands as the lone survivor of the wilderness, willing to give up everything and everyone around him, if only he can pull home this immense and ambitious achievement and ultimately dive right into renewed success.

Additionally, the film holds a strong parallel to its own story about ambition, art, personality, independence and "the man behind the mask." 'Birdman' is an unrefined glimpse behind the scenes of it all, where we as an audience are watchfully witnessing the prolonged and problematic process of transferring art into something commercial, and simply let it stand or fall. In general, the story of the film takes place in this relatively insane meta-world, where the boundaries between reality and fantasy become more and more blurred as the story progresses. 'Birdman' is a large and overwhelming experiment, which both implicitly and explicitly breaks the fourth wall while criss-crossing quickly between all rhetorical devices of film cinema. That is also why I assign the majority of my acclaim and respect to the high ambitions and technical execution of the film, wherein it is much easier to be impressed than completely surrender to.



Four people, including the director himself, wrote the ambitious screenplay for ‘Birdman’ and this fact is pretty evident in the final result. 'Birdman' bites off more than it can chew, and chirps away about more topics than it can manage on a 119-minute runtime. The end result comes across as somewhat unclear and incoherent, with an enormous overload of topics disappearing in and out of focus, and a feeling that too many people have been hands-on with the script, each leaving their distinctive fingerprints behind. It may seem just fine when you slam everything together into one giant collection of hilarities, but upon closer inspection you can’t help but notice all the cracks and crevices. Obviously though, this is all a central part of the greater puzzle, and you could easily say that the film would contradict with itself too much if it stayed within the lines of generality and imitated all the other movies around it, which it so vehemently is trying to criticize. However, I would like to think that just a little more "meat on the bird" would suit the film greatly.


The Acting
Why not start off this section by turning our gaze directly at the feathered gentleman, Riggan Thomson, played quite brilliantly by the former Dark Knight, Michael Keaton. Believe it or not, the script for the film wasn’t written deliberately with Keaton in mind, but still you cannot deny how easy it is to draw an appropriate parallel to the actor's personal life and career. At the beginning of his career, Keaton was primarily fooling around like some charming "funny man", which also got him in the classic striped outfit from 'Beetlejuice' in the role of the same name. Therefore, people were obviously sceptical when he suited up for the iconic superhero with the pointy ears, in Tim Burton's 'Batman' from 1989. But surprisingly enough he pulled the role home in resounding style, and returned once again in the sequel, which was released in 1992. But that film also marked the end of playing hero. Keaton wanted to move on, but his career didn’t quite keep up with him and he disappeared more or less from the spotlights of Hollywood. But when Keaton suddenly heard a little bird tell him about this gripping screenplay that was out there, he was immediately interested. And yes indeed, Keaton certainly makes a great comeback in the role of himself ... –or wait, Riggan Thomson!


All around him are a lot of talented individuals, and everyone delivers a sublime piece of work on the terms of their own edgy characters. The best, however, is Edward Norton in the role of a crazy method-actor who consciously or unconsciously is trying to sabotage the whole play, while also Zack Galifianakis as Riggan’s faithful friend and lawyer is absolutely dazzling!


The Technical Aspect
One of the most applauded and not the least excellent characteristics of the movie 'Birdman', is the rather impressive fact, that almost the entire approximately two hour long running time is captured in a visually stunning and ultra-ambitious manner, that shockingly presents the entire multi-layered course of action as one long unbroken continuity-clip, in which the characters in the story comes and goes on perfectly timed occasions and locations, the action and its focus shifts from various destinations over a longer period of time, the characters undergo a monumental and deeply personal development in just a few short days, and last but not least the audiences experience how it all comes crashing down in the final climax of the film, when multiple critics and all the citizens of New York are living witnesses to Riggan Thomson’s crazy attempt to widen out his talent, in his hugely ambitious and very personal Broadway adaption entitled "What We Talk About When We Talk About Love ".


While you all catch your breath I think I have to acknowledge, that one long unbroken statement as seen above, simply doesn’t work nearly as well in its written style as it did in its cinematic form. One must truly bow down in the dust, for how well it actually succeeded director Alejandro González Iñárritu and cinematographer Emmanuel Lubezki, to implement such a perfectionistic experiment in such a wonderful manner. A long journey through the complicated and frustrating groundwork, the setup and lighting of the scenes, as well as the actual recordings of all the lengthy sequences, all the way to putting it all together in the editing room and finally experiencing the well-deserved success unfold right up there on the cinema screen. The technique is also another well-functioning element in the experimental universe of the film, and it truly elevates all of the gloomy realism that is happening behind the closed curtains. But it must be said, that it feels sort of like an over-exertion to make use of these complex stagings in such an ordinary drama, but after all, the entire movie does tend to force-feed its audience with more glitter and glamour than necessary... and it certainly does look fantastic.


The Soundscape
The egocentric and bombastic soundtrack also does its part, when it comes to the battle of outperforming the originality in all the additional technical areas of the film. The goal is likewise to aim musically for the artistic autonomy in the style of the themes in the film, as we as an audience, are totally trampled by a singular and downright desolate drumbeating of a soundtrack! There has been made an efficient use of only a single drum kit to generate the sudden and aggressive tones, which are all repeatedly delivered in incomplete and unsuspected state. This "one-man orchestra" is used in diverse manners throughout the film, and sometimes even predicts dramatic changes to come in the future storyline. Perhaps most significantly, we get an idea of the actual importance of a truly effective soundtrack.


Once again we have been led behind the backdrops of it all, and are actually introduced to the musical creation and execution in a quite literal sense of the word. 'Birdman' would like to show us just about everything – both the hidden and the visible – if it is consistent with the unwritten rules of the cinematic medium or not; and this recklessness is what essentially drives this entire broad-winged beast of a film.



SHORT SUMMARY 'Birdman' is a wild and unbelievable journey deep into the mind of a man whose previous career’s tailwind has now become his headwind. As an audience you burst in and out of intense discussions, repressed memories, complicated problems and edgy personalities. Alejandro elegantly re-establishes the independent originality in the tedious and repetitive universe of mainstream moviemaking – even though it admittedly is quite the enjoyment once in a while, when directors leave their brain behind. But it feels as if only a few directors remember to go back and pick it up again. Big blockbusters are undoubtedly selling tons of money and often without much effort, so why even struggle with something, which is truly original? Don’t worry... 'Birdman' will make sure to restore the brain, the heart, and not the least the honest credible realism in cinema – even if films like 'Birdman' almost has become an extinct species.


overall rating:
-



What was your interpretation of the ending? Use spoilers if you need to
WARNING: "Birdman ending" spoilers below

Well I think all of the interpretations made are quite interesting and they are all plausible in some way.

I'm not sure I'm kind of split though... He may have survived the gunshot to the face, and all of what was happening in the end was actually happening. The quick flash of the jellyfish in the beginning and the longer shot in the end, I see as all of what was happening in between was a struggle of surviving (like back then), but this time in connection to his career, he struggled to stay relevant, and with family and career issues. Now he finally came out on the other side with success.
And when he jumps out of the window he obviously kills himself, but his daughter see it differently because of her own struggles and changes she has been through, and she finally sees hope and see that what his father dreamed of finally came true.

But in connection to the shots of a "fireball" crashing down is pretty obvious to be a reference to Ikaros, whom is discussed a few times in the film. Ikaros was warned by his father not to fly too high (too close to the sun) or too low, but in the end he flew too high - same with Riggan. So maybe he did die because of aiming too high for the success of his stage play and actually killing himself...

Dead or not though, all of this is quite interesting, and I don't feel like the ending needs to be heavily discussed, since it was obviously left with so much room for interpretation.



Miss Vicky's Loyal and Willing Slave
Damn! This time it's you that grabs the glory MM. I've been working on and off on a Birdman review for the last week or two but struggling to get it done due to my mood, lack of time and also just trying to get a handle on the film which isn't the most straightforward to address



Damn! This time it's you that grabs the glory MM. I've been working on and off on a Birdman review for the last week or two but struggling to get it done due to my mood, lack of time and also just trying to get a handle on the film which isn't the most straightforward to address
Wow thank you very much JayDee! Honestly though, I have really struggled with this review myself, both for the danish and the english version, and I definitely see and feel exactly like you... I've been sitting up nights some time, and also took a whole day as well 7-8 hours straight trying to write it and perfect it. I was like 95% satisfied with the danish version, but for such an ambitious and perfected review it was obviously an even harder job to make the english one.

But well, I think it ended up pretty great anyways, and I'm glad for the positive feedback, as this really was a long-lasting fight to get done! Thanks again



Another impressive review, MM.

Birdman is my most anticipated movie of the moment. The universal acclaim, the fascinating premise, the director's track record, Keaton's resurrection and the technical aspects you mention have given me ginormous expectations. If I'm not blown away by it, I'll be disappointed.

How do you rate Iñárritu's other films?