Birdman is as good as you’ve been told. It’s a film not everyone is going to like, it’s too niche in its self-serving subject matter. It’s not a problem though, it’s a film in exactly the form it wants to be. The performances, themes and dialogue are immense across the board and that is more than enough to keep this lover of film locked in to all that plays out.
And the fight scene with Ed Norton, freshly tanned and in Speedo’s…
J. Edgar is pedestrian at best. Knowing Clint’s political views makes this film a little tough to read, on the one hand it draws parallels with modern america, seemingly pointing out the folly in suspecting everyone as being the enemy, yet it also sympathises hugely with its eponymous lead character. DiCaprio ‘copes’ as the J. Edgar is probably the best description, but then there is little to work with in terms of really getting stuck in, mostly it’s prosthetics and suit-wearing. The central problem with this flick is it’s thin, like really light. And if you’re going to make a slow, brooding biopic, which I’m sure the intention was, then you need heavyweight in terms of direction, script and subject matter. This movie falls short on all three counts.
Shot-for-shot remakes aren’t usually my thing, but when Haneke decided to Americanise his tale of two youths and their disregard for society I was intrigued. Not only because the original was superb piece of film making but also because some serious talent was involved in the way of Watts, Roth and Pitt. And in-keeping with this Funny Games, the 2007 version, is quality. Brutal and sociopathic in deck shoes and tight white shorts (though not quite as tight as in the original).
The motivations of characters and the breakthroughs they make as they obsessively attempt to bring down a global bank are vague at best – forget this though as the The International is all about the shoot-out in the Guggenheim rotunda, which is nothing short of inspired and is a scene that’ll hold up for many years to come.
I’m probably doing Ellie Parker a disservice, but I can’t actually remember that much about, the danger of leaving one line review writing until months after the actual viewing – there was some nice hand held stuff (the whole film is shot on digital), and Naomi is always reasonably bearable.
No History of Violence, but Eastern Promises is still bad ass, heavy, bleeding goodness from Cronenberg.