Tag Archives: ‘Birdman’

2015 Oscars: Tim Lammers predicts who will win, should win

Birdman and Michael Keaton

By Tim Lammers

The 87th annual Oscars are Sunday night, bringing to an end another controversial awards season. At this point with all the guild awards decided, it’s pretty clear who and what film will win the big prize, although I personally hope for some big upsets just to keep the perennial overlong night interesting.

As usual, my predictions aren’t a reflection of who and what I hope will win, but educated guesses based on voting trends throughout the awards season. Of course, no one — no one — is a sure thing (remember Juliette Binoche upsetting Lauren Bacall?), so included in the picks is a wild card in each major category.

Best Supporting Actress nominees:  Patricia Arquette, “Boyhood”; Laura Dern, “Wild”; Keira Knightley, “The Imitation Game”; Emma Stone, “Birdman”; Meryl Streep, “Into the Woods.”

Analysis: This category will likely signal the overrated “Boyhood’s” only big win for the night, but if any categories have upsets, it’s the supporting acting ones. Perennial nominee Streep generally bulldozes everyone she’s up against, and this year is no different. Arquette’s performance is the best of all those in “Boyhood,” but all the awards love for the movie is still mystifying.

Count Arquette’s win as the Academy’s tip of the cap to the year’s most gimmicky movie. A Dern win would be a salute to not one, but three Hollywood acting stalwarts: Dern and her parents Bruce Dern (who should have won for “Nebraska” last year) and Diane Ladd, but don’t hold your breath.

Will Win: Arquette.

Should Win: Streep.

Potential Upset: Dern.

Best Supporting Actor nominees: Robert Duvall, “The Judge”; Ethan Hawke, “Boyhood”; Edward Norton, “Birdman”; Mark Ruffalo, “Foxcatcher”; J.K. Simmons, “Whiplash.”

Analysis: Not only has Simmons proven to be a great actor who has consistently delivered in his roles over the years, his turn as the vitriolic jazz conservatory conductor in “Whiplash” is hands-down the best nominated performance across all of the categories.

“Birdman” is shaping up to be this year’s awards juggernaut, and Norton — who is brilliant in the movie — could be a benefactor of that. Duvall, who is terrific as usual in “The Judge,” would be a shoo-in as a sentimental winner, but he already has an Oscar thanks to “Tender Mercies.”

Will Win: Simmons

Should Win: Simmons.

Potential Upset: Norton.

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Best Actress nominees: Marion Cotillard, “Two Days, One Night”; Felicity Jones, “The Theory of Everything”; Julianne Moore, “Still Alice”; Rosamund Pike, “Gone Girl”; Reese Witherspoon, “Wild.”

Analysis: With five Oscar nominations (including this year) to her credit, Moore is long-overdue. But this award isn’t being earned by Moore for sentimental purposes: Her turn as an early-onset Alzheimer’s disease patient is heartbreaking and emotionally exhausting, and one that stays with you long after the credits roll.

Cotillard (who previously upset Julie Christie, oddly enough, in Christie’s Alzheimer’s-themed movie “Away From Her”) and Witherspoon don’t have a chance because they’re won in the category before and it’s hard to repeat, and Jones, while great, is simply over-matched in the category. An upset for Pike’s ultimate ice queen role in “Gone Girl” would be a way to rectify the Academy huge oversights in several categories — including Best Picture and Best Director (for David Fincher) — in what is easily one of the best films of the year.

Will Win: Moore.

Should Win: Moore.

Potential Upset: Pike.

Best Actor nominees: Steve Carell, “Foxcatcher”; Bradley Cooper, “American Sniper”; Benedict Cumberbatch, “The Imitation Game”; Michael Keaton, “Birdman”; Eddie Redmayne, “The Theory of Everything.”

Analysis: Keaton’s career performance in “Birdman” has dominated most of this year’s awards season, and since he’s sidestepped personal controversy (i.e., he’s said all the right things in his acceptance speeches and has been genuinely gracious) the award has been his to lose. Keaton is brilliant in the role with a fine mix of comedy and drama, but Cooper took the biggest risk with his moving, understated turn as late Navy SEAL sniper Chris Kyle.

It’s not a flashy role, but yet somehow you can sense the inner-turmoil of Kyle as deals with the stress of the battlefield and suppressing his emotions on the home front. It’s an amazingly subtle role and a gutsy move for an Cooper since it flies in the face of Hollywood’s political ideas.

As much as Cooper deserves to win, the only possible person capable of upsetting Keaton is Redmayne, who gives a “My Left Foot” Daniel Day-Lewis-caliber performance as Stephen Hawking in “The Theory of Everything.” His unlikely Screen Actors Guild upset opened the door for a possible upset at the Oscars, but don’t bet on it. Carell’s and Cumberbatch’s nominations are well deserved, so don’t be surprised to see future noms, especially for the latter.

Will Win: Keaton.

Should Win: Cooper.

Potential Upset: Redmayne.

Best Picture nominees: “American Sniper”; “Birdman”; “Boyhood”; “The Grand Budapest Hotel”; “The Imitation Game”; “Selma”; “The Theory of Everything”; “Whiplash.”

Analysis: The race all along this awards season has appeared to be an even match between “Birdman” and “Boyhood,” but then a surprising surge with “American Sniper” (and a $300 million North American box office) with a strong showing in the nominations suddenly made the race that much more interesting.

Conventional thinking at the moment points to a big night for “Birdman,” since it has taken top honors with the Producers Guild of America, the Directors Guild of America (for Alejandro Gonzalez Inarritu – who will also win the Best Director Oscar) and the Screen Actors Guild Best Ensemble Award (the equivalent for a Best Picture prize) — so don’t be shocked when it when it wins the Best Picture Oscar.

As refreshing and inventive as “Birdman” is, remember 2015 as the year the chickens come home to roost on Hollywood. The Academy will appear completely out of touch with Middle America for not naming “American Sniper” its Best Picture; even more so if it goes the upset route and names the low-budget, gimmicky “Boyhood” as “the best.”

A film that rightfully puts the focus squarely on the American soldier and his or her families (and avoids the politics of war), “American Sniper” has had a profound emotional experience on viewers, and it will no doubt enrage them when it is passed over (watch out, Twitter!). Ultimately, if one film is going to make Hollywood stand up and listen to its audiences, this is the one, but they’re too afraid to honor a movie with ties to the right wing by default.

Will Win: “Birdman.”

Should Win: “American Sniper.”

Potential Upset: “Boyhood.”

Tim Lammers is a nationally syndicated movie reporter and author of the ebook “Direct Conversations: The Animated Films of Tim Burton (Foreword by Tim Burton).”

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Tim Lammers picks top movies of 2014

Agree or disagree, here’s this year’s Top 10 list — wedging in 14 of the best movies on the big screen in 2014. See you at the movies in 2015.

10. “The Box Trolls”/”The Lego Movie”“The Boxtrolls” proves why stop-motion is still the best of all forms of animation, and “The Lego Movie,” a computer-animated film that mimics the under-appreciated art form, proves why we need more.

9. “Unbroken”/”Fury” — Directors Angelina Jolie and David Ayer shine proper lights on the unsung heroes of World War II: POW survivor Louie Zamperini in “Unbroken,” and a Sherman tank crew forced to do horrific things in order to survive in “Fury.” What Jolie lacks in context of Zamperini’s sufferings in the PG-13 “Unbroken” is more than made up for in brutally realistic R-rated “Fury,” starring, oddly enough, Jolie’s husband Brad Pitt.

Bradley Cooper in 'American Sniper' (photo Warner Bros.)
Bradley Cooper in ‘American Sniper’ (photo Warner Bros.).

8. “The Imitation Game”/”Big Eyes” — The amazing tale of Alan Turing (Benedict Cumberbatch) is told on two levels: One about Turing the  genius mathematician who invents a pre-cursor to the computer to help the British break German’s Enigma code during World War II; and second Turing as gay man in a time where homosexuality was outlawed in the U.K. Since his covert efforts with Britain’s MI: 6 technically didn’t exist, not even saving millions of lives couldn’t prevent the persecution of one life – Turning’s own. “Big Eyes,” meanwhile, tells another true story about secrets – this one set in pop art scene of the 1950s and ’60s – through the unique cinematic brushstrokes of canvas and film artist Tim Burton.

7. “Captain America: The Winter Soldier”/”X-Men: Days of Future Past” — While the wonderfully funny and action-packed “Guardians of the Galaxy” marked a departure to the light side for Marvel Studios, the latest film in “The Avengers” superhero saga daringly ventured down the complete opposite path with a ’70s political thriller twist, to boot. Though technically not a Marvel Studios property, “Days of Future Past” and star Hugh Jackman did its Marvel Comics roots justice by righting some wrongs from previous films in the “X-Men” series.

6. “St. Vincent” — Bill Murray is at his best in the feel-good movie of the year as a ne’er do-well with a heart of gold and chamber of heartbreaking secrets. Melissa McCarthy, Naomi Watts, Chris O’Dowd and newcomer Jaeden Lieberher complete the joyous halo that encircles Murray in “St. Vincent,” a dramedy that’s every bit as poignant as it is funny.

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5. “Gone Girl” – Director David Fincher is at the top of his game in Gillian Flynn’s complex crime thriller, expertly adapted by the screenwriter from her own best-selling novel. Featuring one of the best ensemble casts of the year (including Ben Affleck, Carrie Coon, Kim Dickens, Tyler Perry, Neil Patrick Harris, Missi Pyle and Sela Ward), “Gone Girl” is taken to a whole new level by former Bond girl Rosamund Pike in what’s easily the best female lead performance of the year.

4. “Dawn of the Planet of the Apes” – Director Matt Reeves pulls off the impossible by topping “Dawn’s” predecessor, “Rise of the Planet of the Apes” – a brilliant reboot of a classic film series. The apes continue to evolve in “Dawn,” and so does the story and Andy Serkis’ motion capture acting. Awards voters better soon get with the program and accept what Serkis does as a legitimate form of acting.

3. “Birdman” – Michael Keaton gives a career performance as a struggling big-screen superhero trying to reinvent himself on Broadway in “Birdman,” the most inventively staged film of the year. The only reason this film works is because of Keaton, who will no doubt enjoy a career renaissance with an Oscar nomination (if not a win) in his future. Of course, it helps to have Edward Norton in your cast, who is as brilliant as ever in a crucial supporting role.

2. “Whiplash” – J.K. Simmons gives the one of the best performances of the year as a conniving, vitriolic jazz conservatory instructor who uses mental abuse in an effort to try to bring out the best in his students – specifically an immensely talented but emotionally fragile drummer (Miles Teller). Simmons is so explosive in “Whiplash” that he makes Louis Gossett Jr. in “An Officer and a Gentleman” feel like a pre-school teacher.

1. “American Sniper” – Director Clint Eastwood places you in the thick of the battle in the Iraq war while Bradley Cooper puts you in Chris Kyle’s conflicted mind in this brutally honest portrayal of the most lethal sniper in the American military. Sienna Miller is also heartbreaking at Kyle’s wife, Taya, a woman suffering the residual effects war has on families. To say the film is riveting is an huge understatement, especially given the tragic fate that awaits Kyle as he finally finds his peace and tries to help other veterans adjust to life on the home front.

Most over-rated movie of the year: “Boyhood” — It’s a clever idea no doubt, filming a child’s life over a 12-year period and there’s no deny the effort and planning director Richard Linklater put into the project, but ultimately, “Boyhood” feels like a gimmick because of a mostly uneventful story. Perhaps critics were ultimately more fascinated with the idea of making a movie over 12-year period than the film itself. Besides, haven’t we seen characters grow up on screen before with the films in the “Harry Potter” saga?

Worst movie of the year: “Inherent Vice” — The film’s top-shelf talent is completely wasted by Paul Thomas Anderson’s pretentious writing and direction, and a nonsensical script that’s virtually impossible to grasp. Don’t pay attention to the film snobs who pretend to understand what’s going on in this bloated heap of “I’m smarter than you are” filmmaking, because they really don’t. Dreadful and disappointing, this movie should have been called “Incoherent Vice.”

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Interview: Director Iñárritu talks Keaton, Burton, evolution of ‘Birdman’

It takes no more than a matter of seconds of watching “Birdman, or (The Unexpected Virtue of Ignorance)” to draw the conclusion that Alejandro Gonzalez Iñárritu wrote his dizzying opus solely for veteran “Batman” actor Michael Keaton.

But wishing someone like Keaton would star in his film, Iñárritu said, and having him actually committing to it, are two different things — especially for a man whose career path mirrors the film’s narrative so closely in real life.

“I think Michael was always in my mind, that Michael was always the best for the part, and I don’t think it would be nearly what it is without him,” Iñárritu told me in a recent interview. “I never try to write a script for anybody specifically because it could be very traumatic for me if for some reason the person would not do it. But once I finished the script, I knew that he would be the best choice.”

Michael Keaton in "Birdman" (photo: Fox Searchlight Pictures).
Michael Keaton in “Birdman” (photo: Fox Searchlight Pictures).

Expanding into more theaters Friday, “Birdman” stars Keaton as Riggan Thompson, struggling former film star whose life is in the dumps after starring in three blockbuster “Birdman” movies more than two decades before. His apparent salvation lies in a Broadway play, an all-or-nothing comeback piece in which he stars, directs and produces.

Before he launches into the critical preview period, however, Riggan has to confront a nasty nest full of problems, including the personal issues of a grown-up daughter (Emma Stone) he never really knew; a cast of helplessly neurotic actors including an arrogant Broadway star (Ed Norton) who does his best to sabotage the play at every turn; and a vicious theater critic whose all-powerful reviews can either give life to or quickly kill every production that dares to tread the boards on the Great White Way.

Hovering above the potential disaster-in-the-making, though, is Riggan’s Birdman alter-ego, which has become such a part of his life that he appears to take on the character’s mystical powers at times, and is often haunted by the superhero’s gravelly voice. Fending off interviewers who really only care if there will be a fourth “Birdman” film, Riggan knows he will only truly be set free if he can stage a performance to kill off his blue feathered character once and for all.

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Iñárritu, whose previous films include the Oscar-nominated “Babel” and the heartbreaking drama “21 Grams,” says the idea, while mirroring the travails of a former superhero star, actually comes from the voices he hears while struggling with his ego.

“There’s a voice that we all have that judges us and punishes us,” Iñárritu said. “The voice that I hear especially during the creative process, that is full of doubts and is never satisfied. Perfection can always drive you crazy. I can be very cruel with myself sometimes. The ego works in a very tyrannical, data ship mode.”

Iñárritu said once he became aware of that “inner voice” concept, he thought it would be a great theme for somebody in a movie. But translating those complex thoughts isn’t exactly the easiest thing to do, as he found out.

“It took me a long time to come up with that abstract of having a presence like that which is so intense,” Iñárritu said. “It’s in all of us, but at the same time it’s very silent. Still it manipulates all of us. It’s important that it awakens you and you see it clearly, because if not, you are f—-d.”

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During the long creative process of “Birdman,” Iñárritu said he had lunch in Mexico one day with Tim Burton, who prior to 1989’s “Batman” and 1992’s “Batman Returns” worked with Keaton on the classic supernatural comed

y “Beetlejuice” in 1988. Iñárritu said Burton’s insights into Keaton were invaluable.

“He told me that Michael, beside his funny side, has a very, very dark side to him, and it’s true,” Iñárritu said. “He said that Michael is a very complex person, a beautiful human being and a very self-assured guy who can really navigate through drama and comedy. That’s why I wanted him, beyond the fact that he was Batman and the reality he could bring to the film. There are few actors that can bring the complex nature that this character needed. The fact that he can navigate through both genres is unique.”

While Keaton is naturally the focus of “Birdman,” the fragile states of Riggan’s fellow actors – Norton, Naomi Watts and Andrew Riseborough — are also examined in the film. And having worked with many different performers over the years, Iñárritu says actors can be very vulnerable due to the nature of the profession, if not a bit bat-s–t crazy at times, as demonstrated in “Birdman.”

“The nature of acting is very complex, because in order to be good, they can’t be themselves. It’s a very strange job to pretend to be others,” the filmmaker said. “It’s very difficult and puts them in a very vulnerable position, and they so much on others, the material and the applause. It’s a lone wolf way of living, yet at the same time fantastic. It’s a journey through their own kind of consciousness and knowledge. They have to be very perceptive, very sensitive and they have to look very deeply into life and reabsorb it. It’s complex and a little cuckoo, I guess.”

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Reviews: Tim Lammers talks ‘Birdman,’ ‘John Wick’ with KARE-TV, more

Birdman and Michael Keaton

Tim reviews the comedy drama “Birdman or (The Unexpected Virtue of Ignorance)” and the revenge thriller “John Wick” on KARE-TV in Minneapolis with Diana Pierce below. Also, you can read Tim’s review on BringMeTheNews.com and hear Tim review the films on WCCO-AM (17 minutes in), KTWIN-FM, KKLN-FM and KSCR-FM. Also read Tim’s interview with “Birdman” writer-director Alejandro Gonzalez Iñárritu HERE.

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