Birdman: As far as technical filmmaking goes, Birdman is the gold standard. The cinematography makes it seem like the entire movie was filmed in one continuous shot and the audio mix is more reminiscent of a live theater production than a film. It was surely excruciating for everyone involved in the production to make the film seem so natural, but that effort pays off big time as Birdman sets a new bar for behind-the-camera wizardy in Hollywood. The acting is equally impressive with Michael Keaton perfectly capturing the desperation and psychosis of a washed-up actor who is desperate to get back into the spotlight in the present day after starring in a string of hit superhero films in the early '90s. The parallels between Keaton and his character Riggan Thomson's career are obvious (Keaton played Batman in the first two Batman films directed by Tim Burton and has been reduced to nothing but supporting roles since then) and Keaton brings every ounce of pain from his real-life acting struggles to this character. Edward Norton and Emma Stone are just as impressive in supporting roles. Norton plays a celebrated yet wildly arrogant Broadway actor who is brought in at the last minute to star in Riggan's comeback play. Norton hasn't had a role this juicy in years and he absolutely kills it here as a character who, just like Norton himself, is full of hubris and an absolute pain in the ass to work with. Stone is easily the biggest surprise in the whole film as Sam, Riggan's recovering drug addict daughter. Stone has never tackled a role like this before and she more than rises to the occasion with an understated yet powerful performance. Where Birdman kind of hits a wall is with its narrative. It tries to cover way too much different ground in a relatively short amount of time and as a result, a lot of the subplots that don't involve Riggan's battle with his inner demons are poorly developed. While the uneven storyline and obnoxiously ambiguous ending prevent Birdman from amounting to the masterpiece it strives to be, it's still a technically-dazzling and brilliantly-acted film that is essential viewing for anyone out there that considers themselves a film nerd.
4/5 Stars
Interstellar: For the first time in a long time, Christopher Nolan failed to deliver. Nolan's latest film, Interstellar, plays out more like a tedious science lesson than a sci-fi blockbuster. The theories on wormholes and time warps may be sound and scientifically accurate, but it's not even remotely interesting to watch these characters have seemingly endless conservations about them for at least half of the film's nearly three hour runtime. The human drama isn't that much more compelling as Nolan centers the film around a father (Matthew McConaughey)/daughter (played by Jessica Chastian, Mackenzie Foy and Ellen Burstyn over various stages of the film) in relationship and how gaps in the time space continuum can't ruin their deep love for one another. The two main themes of Interstellar converge in a ridiculous, inorganic way in the final act and it brings the already heavily-flawed space adventure down to earth at warp speed. The movie is visually-stunning and McConaughey and Chastain turn in solid performances, but that isn't nearly to overlook how hollow and dull this film is overall. If you love science or modern tributes to 2001: A Space Odyssey then Interstellar is your wet dream. If those things don't excite you, Interstellar is a joyless slog to sit through. Seriously Nolan, you're much better than plodding crap like this.
2/5 Stars
Whiplash: All I had to say about Whiplash once the credits rolled was wow. On paper, Whiplash doesn't sound like anything special. The film focuses on a young jazz drumming prodigy (Miles Teller) at the Shaffer Conservatory of Music in New York City who falls under the tutelage of a respected but band instructor (J.K. Simmons) who pushes him to the brink both physically and mentally. What makes Whiplash stand out is the fact that it plays out more like a thriller than a coming-of-age music drama. The scenes between Teller's Andrew and Simmons' Terance Fletcher are chock-full of tension and suspense. Simmons, who turns in a Oscar-worthy performance, is largely responsible for setting the film's tense tone. Watching the beyond intimidating Fletcher break down his students with insults was equally amusing and horrifying. There are brief glimpses of kindness to his character, but he mostly piles on the intensity and throws human decency to the side in an attempt to make his band the most disciplined and precise in the country. This is the role that longtime character actor Simmons needed to finally get a shot at being a leading man. While Simmons is the undeniable standout, Teller manages to turn another quality performance to add to his impressive and rapidly-growing resume. Teller is able to play the role of a kid who has sacrificed his social life and mental/physical well-being to be the best drummer possible with an incredibly level of authenticity and heart. Not only does Teller deliver as an actor, he also shows off some impressive chops on the drums. Just about every drum beat in the film- including the lengthy solo at end of the film- was played by Teller himself, which only adds to the film's remarkable realism and heavy emotional payoff. Don't let the unconventional subject matter turn you off, Whiplash is an absolutely brilliant crowd-pleaser of a film that demands to be seen by the masses.
4.5/5 Stars
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