"Birdman"

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Stewball
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Re: "Birdman"

Post by Stewball »

lisa- wrote:the film didn't just focus on those non-events, it celebrated them. the whole message was LIFE IS A CLICHE, HOORAY! it was a painful experience. linklater cannot write dramatic dialogue.


I agree, but you'd think he was smart enough to know that everybody's not a cliche, and he could have made three or four movies about some of them during the time he wasted on this. On the other hand, if he sees himself as one....what's a guy to do. And it wasn't a TOTAL waste. :roll:

TheSean
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Re: "Birdman"

Post by TheSean »

CMonster wrote:Ugh. Typical dismissal of critique. "You just wanted some dumb melodrama." Boyhood was not lacking in melodrama, it was lacking in drama. All the non-events in my life are boring, but have the added bonus of being able to be moved to the background of my conscious and then I can focus on whatever else is floating around in my head. Boyhood is full of those non-events, but (as a attentive film watcher) I was focused on them. Thus the film became tedious and boring. It might have been slightly saved by a bit of narration, but even then, it was still lacking because a lot of major events were just breezed past only to show us the after math, like just breezing past his mom getting remarried. I dunno, maybe we could see him struggle with that, or show some stout character and be totally cool with it. Instead we get none of that. I also find it unlikely that there would have been much impact in a scene like that anyways because the kid was painfully bland. His lack of any real character reminds of the same critique for Kristen Stewart in Twilight. Just be super bland so you can be a proxy for anybody. And then it closes out with nauseating pseudo-philosophical babbling. While the young and naïve maybe be susceptible to those silly ways of thinking, in all my years of high school or college, I never met anybody who so shallowly stepped into that rabbit hole to say something as inane as "You know how everyone's always saying seize the moment? I don't know, I'm kind of thinking it's the other way around, you know, like the moment seizes us." It's not realistic. It's awful, trite, and nothing like how I've ever heard anybody actually talk unless they were pretending to try and sound like the most cliché hipster ever.

[spoiler]Birdman was good though.[/spoiler]


Stewball wrote:
lisa- wrote:the film didn't just focus on those non-events, it celebrated them. the whole message was LIFE IS A CLICHE, HOORAY! it was a painful experience. linklater cannot write dramatic dialogue.


I agree, but you'd think he was smart enough to know that everybody's not a cliche, and he could have made three or four movies about some of them during the time he wasted on this. On the other hand, if he sees himself as one....what's a guy to do. And it wasn't a TOTAL waste. :roll:


Agree agree agree!

That makes at least a few of us that didn't think it was all that good.
The boy was bland. I didn't dislike him, but I didn't like him either. Just meh.
The last 20 minutes were a cringe-fest.

Kublai Khan
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Re: "Birdman"

Post by Kublai Khan »

CMonster wrote:Ugh. Typical dismissal of critique. "You just wanted some dumb melodrama." Boyhood was not lacking in melodrama, it was lacking in drama. All the non-events in my life are boring, but have the added bonus of being able to be moved to the background of my conscious and then I can focus on whatever else is floating around in my head. Boyhood is full of those non-events, but (as a attentive film watcher) I was focused on them. Thus the film became tedious and boring. It might have been slightly saved by a bit of narration, but even then, it was still lacking because a lot of major events were just breezed past only to show us the after math, like just breezing past his mom getting remarried. I dunno, maybe we could see him struggle with that, or show some stout character and be totally cool with it. Instead we get none of that. I also find it unlikely that there would have been much impact in a scene like that anyways because the kid was painfully bland. His lack of any real character reminds of the same critique for Kristen Stewart in Twilight. Just be super bland so you can be a proxy for anybody. And then it closes out with nauseating pseudo-philosophical babbling. While the young and naïve maybe be susceptible to those silly ways of thinking, in all my years of high school or college, I never met anybody who so shallowly stepped into that rabbit hole to say something as inane as "You know how everyone's always saying seize the moment? I don't know, I'm kind of thinking it's the other way around, you know, like the moment seizes us." It's not realistic. It's awful, trite, and nothing like how I've ever heard anybody actually talk unless they were pretending to try and sound like the most cliché hipster ever.

It's a successful blend of fiction and cinéma vérit. A brand-new cinematic style that could only be accomplished at great risk and expense by the director and the production company. You're trying to judge it as if it's just regular Hollywood dirge. You're looking for all the standard screenwriting story structures and you're seriously bummed because it's not conforming to what you're used to seeing. Thus you think the film is tedious and boring. It's not supposed to have a 5 point film story structure, because life isn't structured that way.

Stop looking to the end of the film for a summary of everything you watched. The pseudo-philosophical babbling was just that. Sorry that you've apparently only ever surrounded yourself with the most cleverest of wits and deepest of thinkers, but the majority of high school and college kids who have like "deep" conversations sound exactly that, except much worse. Hell, you're part of the internet age. Go back and read stuff you wrote when you were 17-18 and try not to cringe. But if you hate that sort of stuff, then avoid all of Richard Linklater's films. Except School of Rock, I guess.

Also, "saved by narration"? Really? Name one movie that's ever been made better by narration. Narration is the tool of shitty directors who resort to telling you something instead of showing you something.

{Should this whole digression be split off from the Birdman thread?}

CMonster
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Re: "Birdman"

Post by CMonster »

I'll just hide my response to Kublai in spoliers since it doesn't pertain to Birdman.
[spoiler]
Kublai Khan wrote:It's a successful blend of fiction and cinéma vérit. A brand-new cinematic style that could only be accomplished at great risk and expense by the director and the production company. You're trying to judge it as if it's just regular Hollywood dirge. You're looking for all the standard screenwriting story structures and you're seriously bummed because it's not conforming to what you're used to seeing. Thus you think the film is tedious and boring. It's not supposed to have a 5 point film story structure, because life isn't structured that way.

Stop looking to the end of the film for a summary of everything you watched. The pseudo-philosophical babbling was just that. Sorry that you've apparently only ever surrounded yourself with the most cleverest of wits and deepest of thinkers, but the majority of high school and college kids who have like "deep" conversations sound exactly that, except much worse. Hell, you're part of the internet age. Go back and read stuff you wrote when you were 17-18 and try not to cringe. But if you hate that sort of stuff, then avoid all of Richard Linklater's films. Except School of Rock, I guess.

Also, "saved by narration"? Really? Name one movie that's ever been made better by narration. Narration is the tool of shitty directors who resort to telling you something instead of showing you something.

{Should this whole digression be split off from the Birdman thread?}


The thing you don't get is that I don't discredit the film for being atypical. The amount of balls it took to try and make a film over the course of 12 years and have it be at all cohesive is impressive. That said, that doesn't make it interesting nor give it any real meaning. It is incredibly realistic but its difficult to make an average joe interesting. Not only did the film miss the mark on that respect, but it passed up opportunities to examine moments that define a character. Realism will only carry a film up to a certain point. If it offers nothing else, then I might as well just film myself sitting here at my computer typing this and then watching it. If a film can completely win you over with what is essentially a gimmick, that is fine. I'm glad you enjoyed it. I am happy plenty of people bought into the gimmick because success in a film like Boyhood opens the door for more atypical films. I think in that respect Boyhood and Birdman are similar. The use of so many long takes is a gimmick. Gimmicks are interesting and add a different flavor to a film. I would say a film definitely needs more that that though and, I would say, Birdman has that and Boyhood didn't. So please, don't try to assume you know what I want to see.

Also, I have read stuff I wrote at 17-18, it's terrrible. My friends and I had plenty of stupid and shitty deep conversations. I have some clever and witty friends, but I also have some stupid friends. But our naive pseudo-philosophical shit is a) not note worth (definitely not movie worthy) and b), despite being cringe worthy, didn't sound so much like fake dialogue clearly written by an adult trying to awkwardly sound like a young hipster.

As for a film being made better by narration, I would pick The Shawshank Redemption. Think of the scene where Tim Robbins is getting raped by the sisters. They couldn't show us every assault. The would just be absurd, but showing one and combining that with the narration about how sometimes he could fight them off and sometimes he could gave us a better look at the life he was living without have 5 hours of prison rape footage. In fact, any film that spans years of time, really benefits from narration because all that would be impossible to show when condensed down to 90-180 minutes. That break in realism actually helps with the realism for the rest of the film because it gives us context and understanding for what we end up being shown. I would agree that plenty of shitty directors do abuse narration to give lazy short cuts, but to dismiss it entirely? Please change your ranking of Shawshank if you think narration is so shitty.[/spoiler]

TheSean
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Re: "Birdman"

Post by TheSean »

Kublai Khan wrote:Name one movie that's ever been made better by narration. Narration is the tool of shitty directors who resort to telling you something instead of showing you something.


Shitty Directors? I'm not so sure. Off the top of my head Scorsese, Kubrick, Spike Jonze, Todd Field... have all used narration.

In addition to CMonster's reply sighting Shawshank Redemption, I think American Psycho would have been strange without narration.

O' and you've rated A Clockwork Orange 100/100. Narration. :D

Stewball
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Re: "Birdman"

Post by Stewball »

TheSean wrote:
Kublai Khan wrote:Name one movie that's ever been made better by narration. Narration is the tool of shitty directors who resort to telling you something instead of showing you something.


Shitty Directors? I'm not so sure. Off the top of my head Scorsese, Kubrick, Spike Jonze, Todd Field... have all used narration.

In addition to CMonster's reply sighting Shawshank Redemption, I think American Psycho would have been strange without narration.

O' and you've rated A Clockwork Orange 100/100. Narration. :D


Yes. The great artistic advantage film has is that it combines just about all of the other arts into one format. Calling it the tool of shitty directors is the attitude of a purist snob. You might as well say music is the tool of shitty directors, or even dialogue. What does it matter if the speaker is on screen or not. If it works it works. Here's a list I put together in collections, "Good Movies with Narration":
Birdman
American Hustle
Lucy
A Clockwork Orange
(Maybe the best narration ever.)
The Tree of Life
(500) Days of Summer
(voice of God almost, where the explanation at the end was absolutely necessary, and people still don't get it.)
Act of Valor
Savages
("Just because I'm telling you this story doesn't mean I'm alive at the end of it.")
Life of Pi (Imagine that one without narration.)
Glory
Ratatouille
The Brave One
(sort of working the narration into the story, like they do with music in some musicals, to cut down on the critical whining. 8-) )
The Details
Apocalypse Now
Dear White People
Stranger Than Fiction
(two more like The Brave One)
The Big Red One
Idiocracy
Adaptation
Tombstone
Moulin Rouge
Forrest Gump
A Christmas Story
Memento
Shawshank Redemption
The Notebook
Sucker Punch
The Usual Suspects
Sin City
The Beach
Magnolia
Fight Club
Watchmen
The Great Gatsby
Looper
Lolita
Citizen Kane
Alice's Restaurant
All About Eve
To Kill a Mockingbird
The Big Lebowski
Platoon
Lord of War
Trainspotting
Blade Runner
Ferris Bueller's Day Off
L.A. Confidential
Pi
Barry Lyndon
Easy A
Don Jon
Beasts of the Southern Wild

.....and just about every film noire movie ever made.
A director mustn't avoid using a tool he has available and that he feels would strengthen its message because some purists would whine about it.

TheSean
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Re: "Birdman"

Post by TheSean »

Some bloody great films there!

Stewball
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Re: "Birdman"

Post by Stewball »

TheSean wrote:Some bloody great films there!


Yeah, and though not all of them is everyone's cup-o-tea (even for me), if you write them all off because of narration...well, I just don't think anyone could, as you showed with the Clockwork Orange example. I think this is mostly an example of a few from the elitist clique exercising their influence over the herd just to delight in watching them follow.

TheSean
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Re: "Birdman"

Post by TheSean »

Agree (most of them are my cuppa tea). And it's not to say narration can't be bad. It can be TERRIBLE! Just like anything else.


I love when the subject of narration comes up in Adaptation, while there's narration. :P

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