There's always a slot for a movie every calendar year for the one film that everyone praises but hardly anyone understands, likes, or comes close to fathom why it receives such accolades. "Birdman" and its entire cast and crew (with the exception of Keaton) have taken that spot, dislodging "Boyhood" out of this position. Still, "Boyhood" had Ethan and Arquette, which made it passable. "Birdman" feels like an inside joke, and it never escapes that categorization for it constantly repeats its wink wink attitude. It keeps calling attention to how much it knows about the world of theater and its actors, so full of insecurity, mental trauma, every possible mental instability you can think of, and most importantly inmeasurable amounts of egocentric devotion. It is always, not so subtly calling attention to how hard it is to be a real actor, how much drama there is, and how special those beings are. Keaton plays an actor who wants to be taken seriously by giving Broadway a try, and it's not an easy task because for starters, he doesn't trust himself as being anything else but a long-gone matinee idol, and this is in spite of his fans who keep jumping out of nowhere. You'd think that'd keep his ego satisfied, but where would the film go if there was no drama? So the four writers behind this mess keep piling up the tragedies... an addicted daughter, a possibly cheating girlfriend, who might or not be pregnant, a loving ex-wife who can't stay away in spite of the "attack", a manager who seems to offer too much support, a hateful critic, the local bar... I kept wondering when the Thelma Ritter character was going to make an appearance to liven things a little, but we did have an Eve Carrington type in there, somehow modified to make it look fresh and more psychotic. I never thought I would dislike anything Norton did, but this film managed to make him and Watts totally useless, and these two have been formidable, especially Watts in her last films. She's wonderful in "St. Vincent", showing she's capable of delivering great performances, and to make us feel even worse, there's that lesbian kiss, making me yearn for her sublime turn in "Mulholland Drive". So much is wrong with this film that it would take pages to express the disatisfaction. The dialogue is borderline unbearable, making us wish the fictitious "Birdman" strike them dead. These people can't stop talking about their "problems" because if they didn't have them, their lives would be even more boring. It's just plain unbelievable that all actors carry that psychological weight. Are there any happy Broadway types? Even Watts is not happy she finally made it? Then there is the gratuitous nudity. There was something strange about that preview, and it did hint at both something special and something really wrong with the film. To be fair, had the film concentrated on the Keaton character, it would have soared. This happens way too late in the movie, and it's an incredible flight of the imagination, but the road there is just mined with too many pretentious and incompetent attempts at being "original". I haven't heard that many yawns and sighs in one theater as I did this time. It's just an utter mess. The subject of the theater and acting has been explored and shown with fantastic results, classic performances, and most importantly with superb examples of insight and drama. "All About Eve" and "All That Jazz might be the best of those films, and I can recall O'Toole, Finney, Weist, and a few other very talented actors and directors showing that type of life can indeed be full of drama, wit, insecurity and human comedy. "Birdman" only shows everything that can go wrong with trying to pretend that you do know what is going on. Finally, don't get me going on those long hand-held shots... There was once a film about some criminals that was praised to heaven for something similar, and that certainly didn't make it a better film. In this case, it's supposed to be intimate; instead it's annoying, intrusive, disturbing and just another example that along with the interminable number of close ups, it only makes us feel extremely nauseous.
Birdman (2014) 720p YIFY Movie
A washed up actor, who once played an iconic superhero, battles his ego and attempts to recover his family, his career and himself in the days leading up to the opening of a Broadway play.
IMDB: 8.3288 Likes
The Synopsis for Birdman (2014) 720p
Riggan Thomas, once known quite well to movie theater goers as an iconic super hero called "The Birdman" had recently turned down a fourth installment of the franchise. Now washed up, he attempts to reinvent himself as a director by staging a new adaptation of a Raymond Carver short story called "What We Talk About When We Talk About Love". The events leading up to the Saturday night premiere prove to be one disaster after another as the original lead actor is injured while on set and Riggan scrambles to find a replacement, but the replacement proves to be exactly who he needs - a method actor who takes the job way too seriously. But Riggan has a hard time juggling between the set, his replacement actor, his equally washed up daughter, and a host of other disasters that prevent a proper staging of the play. Meanwhile, a New York Times critic who Riggan has to woo threatens to shut down production of the play before it even starts with a scathing review of the opening night performance. Does Riggan have a hit on his hands or will he even make it past opening night?
The Director and Players for Birdman (2014) 720p
The Reviews for Birdman (2014) 720p
One star and that's for Keaton's effortReviewed byaharmasVote: 1/10
Ha! Where to start? First of all, I am not a professional critic but I do work in the entertainment business. I am not motivated by politics or corporate positioning and have no vested interest in this or other films competing in the current marketplace. With that said, this is a pretentious experiment that only daft art school students and guilty "professional" critics can appreciate. Fans of the theater will find it amusing for the first hour until it begins to feel like Ground Hog Day meets All That Jazz, orchestrated by Paul Thomas Anderson's nails on a chalkboard. Performances: Exactly what you would expect from talented actors but the fun ends there. Creativity: A one trick pony, think Hitchcock's Rope without the fun, that will make you want to get the heck out of the "theater". Keep in mind, you need to avoid seeing this if you get motion sickness. Cotton mouth, here it comes! Execution: As an example of what can be done in and around a Broadway theater, with a "single" take, it succeeds only as an experimental museum piece. Even then, most folks would walk out before the end. It's one of the most pointless, sluggish, and taxing experiences you will have in the theater.
'Birdman' is the latest overpraised and over-hyped 'art' film by the acclaimed director Alejandro Gonzalez Inarritu. Michael Keaton, who was known for playing Batman in the late 80s and early 90s, is cast here as Riggan Thomson, a washed-up Hollywood actor, once famous for playing a superhero Birdman character in the movies, now making a comeback on Broadway, acting in an adaptation of a Raymond Carver short story. The entire film is shot as if it's one long take in a cinema verite style. Perhaps the best thing about the film is the behind-the-scenes peek at the technical aspects of a Broadway theater production. Initially, the narrative takes the form of a black comedy in which we're asked to laugh at the denizens of the theatrical world, all of whom are depicted as deeply flawed. Riggan's big fault is he's deeply ashamed of 'selling out' years earlier when he took on his superhero role and now by attempting to mount a 'serious' Broadway play, he has a chance to redeem himself. But his Birdman persona keeps appearing in the form of a disembodied voice (and later hallucinations), telling him that he will fail. The idea that there are those performers who believe that 'art' is anathema to commercial success in the performing arts, is mocked incessantly throughout the film, but we get the joke early on, and eventually it becomes tiresome. When the lead actor in the play is mysteriously knocked out by a falling stage light, Riggan is desperate to find a replacement since previews are about to begin. At first the well known 'method' actor, Mike Shiner (Edward Norton), appears to be a godsend that will save the show; but soon it becomes apparent that Mike is exceptionally unstable. We're supposed to laugh at a character who gets drunk during his first rehearsal and later attempts to rape one of the female actors while they're on stage, lying on a bed, under the covers, before an audience who misinterprets the scene as comic. Later, in a bar, Mike puts Riggan down further by pointing out that the napkin that was given to Riggan and signed by Raymond Carver, was given to him in a bar while he, Carver, was drunk. Mike tells Riggan that he's too untalented for Broadway and introduces him to Tabitha, the vicious Times critic, who later tells Riggan that she'll never give him a good review because anyone who sells out to Hollywood can never do anything good in the 'legitimate' theater. The negative Times critic is just another example of the exaggerated caricatures sprinkled throughout the film, which simply aren't funny (a more realistic portrait of theater people should highlight both their positive and negative attributes!). Also in the mix is Riggan's daughter, Sam (Emma Stone), who has just been released from rehab for drug abuse. Riggan receives a double dose of humiliation when he first is locked out of the theater in his underwear and is forced to perform before the audience au naturel and later when we discover the slimy Mike, has had sex with his daughter. By the time we experience the 'twist' of a 'happy ending' at the denouement, there's nothing left for the audience to laugh at, since Mr. Inarritu has smugly shot down all of his straw men caricatures. Riggan 'triumphs' first when he blows off his nose with a gun loaded with live ammunition and Tabitha then gives him a favorable review, dubbing the performance an exercise in 'ultra-realism'. His new prosthetic nose appears to resemble Birdman's, and Inarritu has Riggan fly away, now self-actualized, having had a Broadway hit. The whole idea that commercial success and 'art' is mutually exclusive is not borne out by reality. Even Riggan acknowledges that actors like Robert Downey Jr., can be successful in both worlds. So basically 'Birdman' becomes a silly, 'one-joke' idea, not based on reality nor worth hammering down our throats, ad infinitum.