Michael Keaton plays Riggan Thomson a former cinema super-hero who is directing, producing and acting in an adaptation of a Raymond Carver short story: ‘What We Talk About When We Talk About Love’ that is in preview on Broadway.

Here we have an important subject, how the ego manipulates and confuses the individual to create a reality for the character that is both confronting and confounding. The mind is an incredibly complex machine that many psychotherapists and psychologists have been trying to decipher for years and this film allows an insight into the thoughts of an individual whose experience has brought him to this place we see him in.

The journey we see Riggan go on is one of self-discovery albeit in a confused maze of ego and personal desires.

Alejandro González Iñárritu potentially makes his masterpiece here with his fifth feature film. A director of incredible gifts, he makes this film intimate yet sprawling, no mean feat. He just won a couple of awards at the Golden Globes, which may be a premonition of the Oscars results. All awards heading its way are well deserved.

The cinematography by Emmanuel Lubezki is exquisite, weaving in and out of the theatre both on and backstage, the camera playing the role of the observer but not being afraid to get up close and personal. The long shots are a joy to watch and it’s fun to spot the cuts.

The all star, all talented cast have a ball with the fantastic material and each comes through with shining colours. Keaton is superlative in this role and will firmly cement him back on the upper tier as far as film roles go. He delivers a performance of such rawness and depth, the studios will be forced to remember what an incredible talent he is and scripts will come flying in, especially after his Golden Globe win for best actor.

Zach Galifianakis tones down the usual crazy to create the role of Jake, Riggan’s attorney/manager and is a joy to watch. British actor, Andrea Riseborough smoulders on the screen as Riggan’s co-star/lover. Naomi Watts plays the part of Lesley, an actress who is getting her big break on Broadway. She is an actress with skill but for some unfathomable reason doesn’t quite gel with me. The irrepressible Emma Stone is brilliant playing Riggan’s daughter, an ex junkie who just wants her father’s love. Edward Norton is a delight as Michael Shinner, a renowned theatre actor who can only be truly truthful on stage, brought in to replace an actor at the last minute and challenges and tests Riggan, which ultimately leads to a redemption of sorts for our protagonist.

The most interesting part is the unraveling of the Riggan and his interaction with people in his world. We get to hear his inner voice, which is that of Birdman, the character who shares not too dissimilar vocal tones to Batman.

This is a story of a man who once had incredible commercial success but wishes to gain critical acclaim in his later years, a washed up Hollywood star and although Keaton is by no means washed up, it has been a while since he has been at this level of success. There will be awards. Obviously, his playing of Batman in Tim Burton’s efforts adds to the proceedings and his casting is genius.

The film is transcendent, allowing the viewers into the psyche of a man who was once hugely successful and is chasing the high of being on top, trying to recreate that energy on your own terms doesn’t always work out especially in the world of showbiz. Well, rarely the way you want it to.

Antonio Sanchez deserves an award or seven for his amazing use of the jazz drums on the soundtrack that really allows you inside the chaotic head of this complicated character and is totally inspired, unlike any soundtrack of late.

The incredibly talented, Iñárritu makes his most accessible film to date, whilst not being a film the Transformers posse would normally go to see, the award buzz that surrounds it means that the multiplex crowd will take a chance and have a punt.

Go see it. You won’t be disappointed.




Too much has already been written about the off-beat/quirky/left of centre/kooky style that Wes Anderson imbues in his films, and if you ever see him in interview you will realise that this quality is simply a reflection of him, like David Lynch before him he makes films that don’t sit easily in the usual genre categories and more is the joy.

The point is in the experience, not the compartmentalisation.

Here he has, yet again, created a world that is sumptuous to look at (and listen to, the soundtrack is stunning) and takes the audience on a journey that is a breath of fresh air filled with the expected unexpected Anderson style.

Ralph Fiennes is brilliant as M. Gustave, the famous concierge of the hotel in the fictional European Republic of Zubrowka, he skates the line betwixt farcical comedy and high drama beautifully and Tony Revoloro is a find as his trusty Lobby Boy as they embark on an adventure filled with mystery, murder, mayhem and Anderson mania.

This is Anderson’s biggest film to date as far as location and the amount of actors featured are concerned and it works. It weaves its way through the yarn taking on us a journey that is mesmerising, melodic and memorable.

A cavalcade of very talented actors come together in this beautifully cast film. F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Jeff Goldblum (surely a new Anderson mainstay), Harvey Keitel, Bob Balaban, Tilda Swinton, Edward Norton, Saoirse Ronan, Jason Schwartzman, Lea Seydoux, Tom Wilkinson, Jude Law and of course, the mighty Sir William of Murray. All superb, all a joy.

Viewers are usually in either the ‘love him’ or ‘hate him’ camps but if you reside in the former you are in for a right royal treat.

By fictionalizing a time in European history, Anderson comments on and puts his own inimitable spin upon the actual events.

This is hugely enjoyable. Highly recommended.