the virtuosity on display evidently is enough for many to praise this stunt to the sky, but even that virtue isn't all it's cracked up to be: a lot of the performances suffer as the result of the long-take format. keaton's teeth-grinding approach is up and down, and emma stone appears completely lost without the editorial control afforded by traditional cutting. (norton on the other hand is a force of nature and puts everyone else in the cast to shame) the script is riddled with "punchy" lines that whiff terribly, and the "enigmatic" final shot is a copout (especially frustrating because the film teases us over and over again with faux-suicides).
but mostworst is that the film is a daisy chain of potshots. this is meant to be an "incisive" film but it's more like a manic stabbing at an empty pillowcase with a butterknife. what exactly is this film's perspective, besides the fact that everyone and everything is riddled with bullshit? the only truth "birdman" actually clarifies is that inarritu's purview is hopelessly jaundiced and pathetic. this junk isn't really inside riggan thompson's head (despite the gimmick-laden scenes of "introspection"), it's just underneath his wig. a simpleminded piece of unenjoyable trash whose countless shortcomings are masked by competent execution of choices made in the pre-production process, and in some ways one of the year's worst releases.
>>64733192 Two directors have won two consecutive awards. John Ford (The Grapes of Wrath, 1940 and How Green Was My Valley, 1941) Joseph L. Mankiewicz (A Letter to Three Wives, 1949 and All About Eve, 1950)
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