BIRDMAN

A surreal hallucinogenic riff on mid-life crisis, lost youth and a desperate attempt to regain relevance in an ever trending world, Birdman swoops in like a vulture picking away at the carcass of past glories with alternately hilarious and dazzling results.

The film takes place entirely in and around a famous old New York Broadway theater during the crazy maddening days of rehearsals and previews leading up to opening night. Much like Black Swan (2010) or The Dresser (1983), Birdman is one of those revealing backstage theater films that tackles the chaos and insecurities of a group of performers nervously preparing and trying to get their act together before the big night.

A young recovering addict asks an older character in the film “what would you want to do to me if you weren’t afraid?” The answer: “I would pluck out your eyeballs and put them in my head so I could see the world again the way I did when I was your age.”

That pretty much sums up the idea behind the story of a middle aged actor who once achieved fame for playing an iconic super hero, Birdman. He now struggles with his past to reinvent himself as a serious actor in a Broadway play which he wrote and directed.

In a desperate bid to shed his alter ego, Riggan Thomas (Michael Keaton) who is haunted by the voice in his head which sounds a lot like Batman, tries to launch a Broadway stage play to gain a more prestigious legacy as a serious thespian. Riggan, who seems to be out of touch with the new age of social media, wants desperately to be relevant again, to leave a lasting legacy he can be proud of the only way he knows how. 

Michael Keaton is perfectly cast here, as he was himself well-known for playing the legendary caped crusader Batman in Tim Burton’s Batman (1989) and Batman Returns (1992), another iconic superhero with a cult fan base, and bares all to give a riveting performance.

Alejandro González Iñárritu, who is known for making films with multiple interweaving storylines and filming in the most authentic immersive locations, skillfully transporting us with vivid and inspiring cinematography in films like Amores Perros (2000), 21 Grams (2003) and Babel (2006), has once again achieved an amazing technical and emotional feat with Birdman. 

Iñárritu, who just turned 51, and cinematographer Emmanuel Lubezki, who won an Oscar for Gravity (2013), shot this film in what appears to be one continuous unedited take, a la Russian Ark (2002). But far from feeling gimmicky it works wonderfully. Even while time passes as we follow the various characters through their experiences, at no time does the camera stop moving or cut from one moment to another. We hover and glide through hallways and doorways as we turn and follow from one character to the next without any noticeable edits. Only a few subtle transitions are apparent near the end.

The camera moves organically around people and rooms following multiple stories as if invisibly eavesdropping on them while the soundtrack keeps a continuous rolling, clashing rhythm of offbeat jazz drum riffs skillfully improvised and integrated into the natural flow of the film by solo drummer Antonio Sanchez.

This highly entertaining film is more than just a fascinating feat of inventive filmmaking; it also makes poignant comments on the subtle and not so subtle ways that we refuse to be marginalized, even as we slowly lose touch with and stop relating with the ever changing world around us.

JP

FURY

With Remembrance Day approaching, Fury reminds us of the sacrifices that were made by so many young men and women during W.W. II.

We haven’t seen such a blazing and sobering W.W.II film since Days of Glory (2007), Inglourious Basterds (2009) and Defiance (2009), and there hasn’t been a tank film since Lebanon (2010). Tanks and tank footage are an integral part of many war films but now Fury brings W.W. II tank warfare to a whole new vivid level.

This is Das Boot (1982) with Tanks instead of U-Boats. We’re thrown in with a group of hardened American tank soldiers who have been fighting the Nazis from North Africa to D-Day landings in France and are now well into enemy territory; 1945 Germany, helping to give the final death blow that will end the war in Europe. But as Brad Pitt’s sergeant Collier says; ‘A lot more people have to die before that happens’

Director David Ayer, who brought us the excellent End of Watch (2012), delivers a worthy entry into the W.W.II war film from the Allied forces perspective. The story focuses on a young inexperienced battle shy recruit, Norman, who’s assigned to replace the tank gunner just killed in battle when the films opens and the effect it has on the rest of the group led by Don ‘Wardaddy’ Collier.

Fighting the last remaining vestiges of desperate German resistance, while traveling from town to town, the Fury crew, who have a reputation for being the best at getting the job done, joins up with other armored tank divisions to liberate civilians who have been pressed into war by Hitler’s SS to defend the country.

As sergeant Collier takes the rookie Norman under his wing, he tries to teach him how to become a ruthless Nazi killer. The film is not afraid of showing us the brutal horrors of war, not shying away from the questionable morals of men pushed beyond their limits and some not so heroic behavior that may violate some of our common perceptions of the war. 

We get to know the tank soldiers intimately as they maneuver their death machine to destroy the enemy from inside a heavily armored hellish steel tight box on tracks. Working together like a well-oiled machine is the only thing keeping them alive. Their leader, the seasoned battle-scared Wardaddy, will stop at nothing to kill every last enemy but the violence he has witnessed seems to be taking their toll on him. 

Fury gives us a hair-raising tanks-eye-view of the war from inside the confines of an actual Tiger I W.W. II Tank. The images are violent and graphic but always authentic with an eye and feel for the time and the horrendous reality of fighting in tank warfare using real Sherman tanks. 

The spectacular fire power of the tanks is matched only by the strong emotional performances of the whole cast who clearly show extreme dedication in their mesmerizing portrayals that genuinely draws us into the human conflict. 

This gripping war drama keeps the suspense and the action coming at a steady unwavering pace. Memorable set pieces include a tank battle showdown with a German Panzer facing off with four Allied Sherman tanks and a tense confrontation between the tight-knit Fury crew after they enter a town held by fanatical Nazis who are using children to fight. 

Fury is well worth seeing for the intense grisly action and suspenseful drama set in a historically important time.

JP           

The Hundred-Foot Journey

The Hundred- Foot Journey is a feast for the eyes and heart. Film making has so much in common with great cooking and Swedish director Lasse Hallström is a master chef among film makers, choosing all the perfect ingredients to make this film the most palatable it can be for its audience.

After tragedy strikes a family from Mumbai India with a long illustrious reputation of cooking traditional Indian dishes, they are forced to move to Europe seeking a new home where they will re-establish their trade mark culinary excellence. 

Hallström is no stranger to satisfying comfort films having directed such appetizing feel good films as Chocolat (2000), Cider House Rules (1999) and Salmon Fishing in the Yemen (2011). 

After a long arduous trek through several countries looking for a place with just the right culinary vibe, they eventually stumble across a quaint rural French village where the local market bursts with exceptionally fresh locally grown produce. 

Based on the best-selling debut novel by Richard C. Morais, the story is a sumptuous banquet blend of Ratatouille (2007), Chocolat (2000) and Under the Tuscan Sun (2003), stunningly filmed in the picturesque medieval country villa of St.-Antonin-Noble-Var in southern France.

Papa (Om Puri), the family patriarch immediately decides that this is the place to set up their new Indian curry house and sets to work creating a magical Indian palace that exudes spicy aromas wafting on the evening breeze right across the street into a long standing posh French fine dining restaurant. They quickly find themselves at war with the owner Madam Mallory (Helen Mirren), over cultural differences and the battle of tastes begins.

This is definitely a foodie film and a very good one too, with culinary clashes fusing traditional French cuisine spiced up with exotic Indian fare. So if you go in before having lunch or dinner you may find yourself coming out with a mouthwatering craving for Indian and French cuisine.

The garish bright and loud new Indian eatery does not sit well with the reserved local residents whose tastes are not used to the heavily spiced Indian dishes and the new restaurant suffers from lack of interest, but Papa has a few secret ingredients up his sleeve that will give his French rivals some real competition. 

An enchanting romantic fairy tale, this flavorful experience will leave you satisfied that you’ve cultivated your senses. Much effort was made to make the food, kitchens and cooking techniques look absolutely authentic and the scenic photography of charming old world villages will make you salivate as much as the orgasmic gastronomy on display. 

The film touches on many contrasting philosophical views of life; rural village vs. big city, traditional vs. innovation, sophistication vs. fun loving, modern vs. vintage, and money vs. passion, it all gives the film a visual dichotomy and food for thought.

Whatever your tastes, you will enjoy the rich, luscious emotional smorgasbord on offer and leave with fond visions of a unique toothsome film experience. 

JP