Bil’s rating (out of 5): BBBB.
USA, 2014. New Regency Pictures, M Productions, Le Grisbi Productions, TSG Entertainment, Worldview Entertainment. Screenplay by Alejandro Gonzalez-Inarritu, Nicolas Giacobone, Alexander Dinelaris, Armando Bo. Cinematography by Emmanuel Lubezki. Produced by John Lesher, Arnon Milchan, James W. Skotchdopole. Music by Antonio Sanchez. Production Design by Kevin Thompson. Costume Design by Albert Wolsky. Film Editing by Douglas Crise, Stephen Mirrione. Academy Awards 2014. American Film Institute 2014. Boston Film Critics Awards 2014. Golden Globe Awards 2014. Gotham Awards 2014. Independent Spirit Awards 2014. Las Vegas Film Critics 2014. National Board of Review Awards 2014. North Carolina Film Critics Awards 2014. Phoenix Film Critics Awards 2014. Washington Film Critics Awards 2014.
Alejandro Gonzalez-Inarritu recovers from the bloated mess of Biutiful with a big movie in a small space, an eccentric and deliciously funny look at the mad world of live theatre. Michael Keaton does a wryly charismatic riff on his own career as a has-been movie star whose success as a film superhero looms large over his attempt to make meaningful art. The self-financed stage adaptation of Raymond Carver stories that he has written, directed and is starring in is in previews and the whole thing is threatening to explode, the loss of a key actor bringing in a stage superstar (Edward Norton) who comes with a lot of grandiose baggage, added to a co-star (Andrea Riseborough) with whom he is having an affair and a daughter (Emma Stone) who has just gotten out of rehab but hasn’t kicked her habit for self-destruction. The magnificent cast, which also includes Naomi Watts and Amy Ryan, is guided smoothly through Inarritu’s vision by invisible cuts that, thanks to excellent digital technology, make it feel like the whole thing is one long take. The effect is never gimmicky, it’s actually quite exhilarating, physically displaying the wryly humorous presence of cinema that thematically exists as the successful older brother to the scrappy little theatre: these people are in the top tier of their world, performing in a highly publicized show on Broadway, and yet their career references are to movie celebrities. Their goals to qualify in the world of film mean that there is an insecurity to their place on the Great White Way that they cannot surmount. Norton is particularly memorable as the leading man whose devotion to realism makes Marlon Brando look like Marlene Dietrich, and Stone enjoys a few rounds with him that provide the movie’s only calmer moments when not watching the highly strung Keaton go completely mad within his own neuroses. The gorgeous cinematography is also a plus, with the only drawbacks to the film being large chunks of shoddily written dialogue and an ending that kills the momentum and goes in an unsatisfying direction; we leave the milieu of the theatre far too long before the story concludes and it almost feels as if we have changed the channel.