ONE FOR THE GOOD DAYS

and i have it all here in red, blue, green

7 notes


"Iñárritu, who in the past has been nothing if not sincere to the point of self-seriousness, suddenly shows us not just his anarchic, uproarious, irreverent sense of humor, but his mischief, not to mention an almost impish delight in the further possibilities of a medium he’d already mastered. So far from resting on his laurels, Iñárritu has, to echo one of the film’s central tenets, risked something. And God, does it pay off: we’re trying to avoid the hyperbolic “redefining the language of cinema”-type comment, but seriously, the film’s bravura, impeccably achieved form has such a gravitational effect that it becomes hard to remember that there was ever another way to tell a story.”

Birdman is getting glowing reviews. Let the Keatonnaissance begin.

"Iñárritu, who in the past has been nothing if not sincere to the point of self-seriousness, suddenly shows us not just his anarchic, uproarious, irreverent sense of humor, but his mischief, not to mention an almost impish delight in the further possibilities of a medium he’d already mastered. So far from resting on his laurels, Iñárritu has, to echo one of the film’s central tenets, risked something. And God, does it pay off: we’re trying to avoid the hyperbolic “redefining the language of cinema”-type comment, but seriously, the film’s bravura, impeccably achieved form has such a gravitational effect that it becomes hard to remember that there was ever another way to tell a story.”

Birdman is getting glowing reviews. Let the Keatonnaissance begin.

Filed under Michael keaton keatonnaissance birdman alejandro gonzález iñárritu movie indiewire emmanuel lubezki one long seamless take ed norton emma stone amy ryan zach galafinakas raymond carver what we talk about when we talk about love naomi watts oscar bait