It’s the effect of it all that’s the problem, and how it undermines our ability to experience the film and become truly engaged by the performances. Stern was discussing the Oscar race with late-night talk show host Seth Meyers, and decided to unleash on Alejandro Inarritu’s industry comedy. At certain moments, watching it felt like inhaling laughing gas mixed with helium. Making it all the sadder that the film itself tries so hard to prove how much it matters, how smart it is, to force us to admit it exists. Birdman is a delicious and delirious pleasure. We had faces!" As the film progresses, Watts becomes a punching bag of sorts. Michael Keaton is tremendous as the superhero movie star trying to reinvent himself as a serious actor in this freaky-deaky flight of fancy from Alejandro González Iñárritu, Last modified on Mon 3 Dec 2018 15.38 GMT. It's a condemnation of those who make films the director doesn't approves of, and those who wrongly judge films the director does approve of. ... "That an ignorant guy that doesn’t belong to theater chooses to do this, is a bad great idea that Carver would like." Add to that the film’s cliched “younger woman falls for caddish man twice her age and helps him find redemption by having an affair with him” theme (the man who tried to rape Watts’ character, a fact known to the younger woman by the way), which includes a banal truth or dare game filled with cringe-worthy on-the-nose exchanges. Photograph: Atsushi Nishijima/AP. That moment caps her arc in Birdman, and she becomes mostly a non-entity afterward. I can’t discourage you from seeing Birdman, and part of me wants you to to see it, just so you can join the conversations. The film works too hard to appear to say more than it does, and its sensibilities are liable to be off-putting for a lot of viewers. "We didn't need dialogue. The problem is, this metaphor actually ends up reflecting Birdman’s hyperactive attempts to get us to notice what it’s doing every single moment. Indeed, we're presented with the alternative sort of star, in the form of Edward Norton’s stage actor so devoted to his craft that he is only real on stage, dishonesty ruling his "normal" life -- particularly in the rare moments he seeks out attention and fame, notice. I write about films, especially superhero films, and Hollywood. It never fails. It's a false presumption, one as recyclable as it is simplistic and fantastical. Sixty-four years later, the pretense at the root of Norma's pronouncement remains alive and well. It is a film that has been wildly hailed by the critics, despite – I am sorry to say – depicting critics as fatuous, shallow, parasitic and prejudiced. There's no understatement to be found anywhere except in Keaton's performance as he tries admirably to restrain a film that is all too happy to approach every moment as an opportunity to prove how unrestrained it is. But these points matter not to the "good ol' days" narrative of Norma Desmond and her modern conceptual adherents. Because I wanted to love this film -- expected too, even. Suffering for fame is a sin that only breeds more suffering, but suffering for art is a virtue that sets you free. It’s terribly unfortunate, because the performances are usually terrific and the quality of the cinematography is undeniably spectacular. It’s shot in one single take, without cuts (but with a few seamless digital sutures) and depicts the escalating anxiety attack being suffered by a failing movie star called Riggan Thomson, played with fiercely tender self-pity by Michael Keaton. Which, I completely understand, is part of the point of the movie. Stern was discussing the Oscar race with late-night talk show host Seth Meyers, and decided to unleash on Alejandro Inarritu’s industry comedy. Problem is, that’s not usually how it really works out, and more indie/arthouse fare like this can score much more per-screen in limited release than in wide release, because its audience packs into those few theaters so it’s hard to know whether that represents true widespread interest or just a relatively small following capable of packing four theaters for a weekend. "Birdman" is satire of the film industry, celebrity life, and all the insanity that goes with it. What is this? And stars who appear in such films are not truly acting, they're playing at celebrity, nothing more. Many film lovers and good reviewers like the film and disagree strongly with my assessment.

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