Stars Michael Keaton, Zach Galifianakis, Andrea Riseborough, Amy Ryan, Emma Stone, Naomi Watts and Edward Norton Directed by Alejandro G. Iñárritu The subtitle for this is “The Unexpected Virtue of Ignorance” and it is probably the original title for the whole film. Both titles don’t make sense as the movie plays out but what is undeniable it the magnetic performances led by Michael Keaton, and the technical prowess on display to pull off the entire movie as if it were filmed in a single shot. It helps that the story is set mostly within a theatre where washed up actor, Riggan Thompson (Keaton) is trying to put on a play he adapted, is starring in and directing at the same time. Thompson is striving for a credibility, the need to be taken seriously while battling his ego and alter-ego of Birdman, an iconic superhero character that made him famous over two decades ago. Similar to how Keaton himself played Batman in two movies over two decades ago (Birdman has three, the last being in 1992, the same year Batman Returns was released). There are other issues that Thompson faces as the movie goes on including a preening (in more ways than one) stage actor (Edward Norton) who treatens to steal the spotlight; his daughter (Emma Stone) who is a recovering drug addict and currently working as his assistant; as well as financial troubles in trying to hold the play together, assisted by his friend/laywer, Jake (Zach Galifianakis). Add to that Birdman constantly taunting him, and Thompson may very well be on the edge of a nervous or mental break from reality, as several key moments throughout the movie seem to prove. Those moments of ‘magic realism’ - starting with the unusual sight of Thompson seemingly levitating in his dressing room right at the beginning - work well to hint at mental issues at hand, if they are issues or not. The effects work and cinematography (by the incredible Emmanuel Lubezki) work seamlessly that you would question the reality of the situation. Add to that the incredible long takes and almost invisible editing, the movie simply flows and you’re carried along with the narrative, even as the story spans several days, perhaps weeks. Director Alejandro G. Iñárritu shows off some incredible technical prowess at handling the stars within the given environment along with the camera movement. The use of an almost free style jazzy score adds to the almost freewheeling nature of the narrative, slipping across reality, Thompson’s psychosis and the play itself as all the elements somehow converging and informing each other. Holding the centre is Keaton in a bravura performance (genius casting), surrounded by equally powerful performances from the other members of the cast. Norton is on top form, Stone delivers, Andrea Riseborough and Naomi Watts shine and even Zach Galifianakis does more than just hold his own against Keaton. The only trick is the nature of the narrative as it surrounds individuals in search of acceptance as well as something greater, despite the reality beating on them, hence the subtitle. The willingness to believe in the impossible and not accept the norm. It is something that may be aimed squarely at the creative industry and, as such, may not reach certain viewers. There may be no middle ground and it’s going to be a love-it-or-hate-it deal. For me, it is an incredibly smart film and it is also technically impressive. Definitely worth taking a chance on. Rating: ****1/2 / 5
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