Alejandro González Iñárritu’s Birdman, starring Michael Keaton, is getting a lot of critical love—for starters, it features several first-rate performances and is stylistically innovative. For me, on the other hand, the latter aspect actually ruled over substance, when I would usually prefer it the other way around.
Moira Macdonald, Seattle Times:
Watching Alejandro Gonzalez Iñárritu’s multilayered ‘Birdman’ is like unfolding a piece of intricate origami; it keeps opening in unexpected directions. It’s a movie that can be appreciated on many levels simultaneously: as a backstage-at-the-theater comedy; as a literate and literary character study; as a remarkable achievement in cinematography (it’s filmed as to appear to be one unbroken two-hour shot); as a comment on the nature of contemporary entertainment; as a showcase for one of the year’s finest ensemble casts; and as a surreal tale of a man seeking his soul, with a final image so understated yet beautiful you may find yourself sitting still for a minute longer, happily taking it in.
Tom Long, Detroit News:
So exhilarating it can be exhausting, ‘Birdman’…is a film that challenges, surprises and dazzles while still working at the edges of a frazzled mind.
That mind would belong to Riggan Thomson (Michael Keaton), a movie star who long ago played a superhero character named Birdman to international acclaim before walking away from the franchise. Now he’s written an adaptation of a Raymond Carver story that he’s staging on Broadway, directing himself as the star, trying to reignite his career and validate his work…
Riggin’s costars in the stage play are Mike (Edward Norton), Lesley (Naomi Watts), and Laura (Andrea Riseborough). Emma Stone, Zach Galifianakis, and Amy Ryan also have important roles.
Liam Lacey, Globe and Mail:
There’s one more important figure, the title character Birdman, Riggan’s superhero character from decades ago, who lives on as a growling negative voice inside the cracked actor’s head. Nothing’s necessarily entirely literal here, but Birdman is not just the garden variety voice of inner self-loathing…Riggan can move and destroy objects with his mind, rather than just smash them in a bad temper. His madness is distinctly thespian-centric: He believes he can will himself to be someone much greater than he is.
THE TRAILER (With Background Song “Crazy”)
Ty Burr, Boston Globe:
‘Birdman’ — full title ‘Birdman or (The Unexpected Virtue of Ignorance),’ for reasons that become sort of, kind of, all right, not really clear — is a jaw-dropping stylistic wow that spins, pirouettes, turns inside out, and miraculously stays aloft for two hours.
It’s a backstage drama — correction: It’s a backstage middle-aged male freakout comedy-drama and, as such, possibly a guy’s answer to the anxieties of ‘All About Eve.’
Dana Stevens, Slate: “A movie that, while ultimately less satisfying than I hoped, features two breathtaking star turns: one from its lead actor and another from that camera, wielded by the indisputably magical Emmanuel Lubezki.”
Betsy Sharkey, Los Angeles Times: “…(J)ust as the stage belongs to Riggan, ‘Birdman’ belongs to Keaton. It is one of those performances that is so intensely truthful, so eerily in the moment, so effortless in making fantasy reality, and reality fantasy, that it is hard to imagine Keaton will ever be better.”
Ann Hornaday, Washington Post: “With grandeur, giddiness and a humanistic nod toward transcendence, “Birdman” vividly evokes a time of equal parts possibility and terrifying uncertainty, and makes a persuasive case that, when the ground is shifting beneath your feet, the best thing to do is to take flight.”
Tom Long, Detroit News: “Can Riggan really fly? Can any of us? ‘Birdman’ doesn’t offer the answer, but revels in the question. Soar with it.”