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    Off the Edge

    Best movie of the year? Weird and wild Birdman takes the high wire to thrill and greatness

    Alex Bentley
    Alex Bentley
    Nov 16, 2014 | 4:47 pm
    Best movie of the year? Weird and wild Birdman takes the high wire to thrill and greatness
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    There are some films that defy classification, ones that don't conform to any preconceived notion of what a film should be despite having much in common with their predecessors. Birdman or (The Unexpected Virtue of Ignorance) is such a film.

    Conceived by writer/director Alejandro González Iñárritu, Birdman is many things, but first and foremost it is a deep dive into the mental instability of a once-famous actor, Riggan Thompson (Michael Keaton).

    Birdman is a thrill to watch from beginning to end. Keaton gives perhaps the performance of his career.

    Attempting to reinvent himself 20 years after turning down the opportunity to continue his stint as the comic book hero Birdman, Riggan has decided to write, direct and star in a Broadway adaptation of a Raymond Carver short story.

    He is alternately helped and hindered in his quest by his lawyer (Zach Galifianakis), fellow actors (Naomi Watts, Edward Norton and Andrea Riseborough) and his daughter/personal assistant, Sam (Emma Stone).

    The most noticeable of the high-wire elements in Birdman is that the camera and/or the characters are nearly always moving. There's only a handful of instances in which cuts in the film are obvious. Iñárritu used long, extended takes and movie magic to make it appear as though the entire movie was captured in one shot.

    So despite the fact that the movie is dialogue-heavy, it has the feeling of a great action flick, almost never giving the audience a chance to catch its breath. Iñárritu was lucky enough to use the winding backstage passageways of the iconic St. James Theater on Broadway to create a dizzying array of funny and tense situations.

    Also helping matters is a drum-heavy soundtrack by Antonio Sanchez that ramps up at all the right moments, and crisp and ingenious cinematography by Oscar winner Emmanuel Lubezki (Gravity) that takes advantage of the claustrophobia-inducing setting.

    The parallels to Keaton himself playing Batman in the early '90s are unavoidable — and one of the key reasons Iñárritu wanted him to play the role — but Birdman is much more than just a callback to Keaton's past. It's a commentary on the perils of fame, the theater world, fandom and more.

    Above all, though, Birdman is a thrill to watch from beginning to end. Keaton gives perhaps the performance of his career, embodying a man who is this close to going off the edge such that you start to worry a bit for his own sanity. Most of the other actors put in great performances as well, especially Galifianakis, Norton and Stone.

    Birdman may not fit neatly into any predefined movie category, but it is that type of film that often stays with you the longest. It is weird, wild and one of the best movies of the year.

    The specter of Birdman hangs over Riggan Thompson (Michael Keaton) throughout Birdman.

    Michael Keaton in Birdman
    Photo courtesy of Fox Searchlight Pictures
    The specter of Birdman hangs over Riggan Thompson (Michael Keaton) throughout Birdman.
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    news/entertainment

    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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