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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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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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