In an era of recycled comic book sequel films and films praised more for their technical aspects than their substance, 'When I Live My Life Over Again' is very refreshing. First of all, Amber Heard is great in this breakout role for her, and I have no significant qualms with her performance, or really, anything in the film. Christopher Walken, however, steals the show, delivering his best performance in years, and is probably my personal favorite of his. He perfectly personifies the aging, listless, dad, and his low key style blends perfectly with Amber Heard's more loud and reckless style. Ultimately, this film, without giving away too much, is everything an independent film should be, and seeing it at the TriBeCa Film Festival was quite the treat.
Reviews
4 Reviews
An Instant Classic: The Best Film of the 21st Century
24 March 2015
Warning: Spoilers
Instead of including an accompanying review, I will instead be providing my analysis of the film's ending, going so far as to explain it's relevance in being named the best film of the 21st century.
The following analysis of the ending of Birdman or (The Unexpected Virtue of Ignorance) is a look into how this amalgamation of deep symbolism and cinematic excellence make the ending of this film arguably one of the most profound in cinematic history, and a perfect ending to Iñárritu's masterpiece.
"To begin, the sudden take essentially provides a clear look towards the fact that Riggan Thomson (Michael Keaton) has indeed perished. The reason for this ending being so ambiguous to everyone is of great concern and confusion to myself; Iñárritu's description of life as "one full take" alludes to how Riggan has died, and the following hospital scene is a depiction of Riggan's "heaven", or paradise, a world in which he is free of the struggles of fatherhood, acting, and most importantly. the alluring, pressuring presence of his former self, Birdman. This is portrayed through the symbolic revealing of Riggan's face after taking off his medical mask, revealing a nose that aligns perfectly with that of the Birdman costume; sure enough, as Riggan steps out of the bathroom, Birdman's "goodbye" confirms what Riggan wants in his ideal world - to be free of this tantalizing identity.
Other symbolism in this iconic scene is the magazine, which Jake (Zach Galifinakis) provides to Riggan in his hospital bed, the title of which is 'The Unexpected Virtue of Ignorance', referring to the Raymond Carver-based play and Riggan's success. However, as we saw before, the critic Tabitha rushed out of the theater in what appeared to be contempt at the moment at which he kills himself, leading the viewer to believe that her suspicions regarding the play have been confirmed and that she is on her way to "kill the play" in a review, as was aforementioned. This positive review is once again a figment of Riggan's idealist dream, a want or lust for a positive review, to feel accomplished or fulfilled in his pursuit of "true art".
Minor symbolism in this scene includes the introduction to the scene, as during the transition a deserted beach is shown with birds flying away from dead jellyfish, symbolizing Riggan's true freedom from this identity, something which could only be accomplished through death. The press rushing into the hospital and his ex-wife's intimate embrace are all culminations of his wants, as these would not be attainable in reality.
Riggan's daughter Sam (Emma Stone) provides the paramount, overwhelming icing-on-the-cake to this profound film, as her entrance to the hospital room is one of the final events of the film. Her iconic view out of the hospital window (Which don't open, once again a figment of Riggan's imagination), provide an encapsulating finish to Riggan's idealist world, a world in which his daughter, and ultimately all of society (Symbolized by the media in the hospital) look up and remember him, finally making him relevant and proved by Sam's admiring look up to the sky where Riggan is finally free of cynical societal restraints."
To explain to some who may seem confused by the director's intentions with this ambiguous ending:
"If you look into the intricate details of the film, or "silver linings", you see what Innaritu tried to project - a man, delusional and suffering, somber regarding the intertwined nature of aging and relevance. Riggan thus seeks to escape this reality, this unfortunate truth, and finally reaches his ideal world through death. Also, I'd have to differ in terms of your analysis of Sam's reaction at the end. We see the complicated, difficult father- daughter relationship throughout the film between Riggan and Sam, and Riggan's anxiety regarding how he'll be remembered (Recall the plane incident with George Clooney that Riggan tells his ex-wife), and thus it makes sense that in his ideal world Sam would look up to him in admiration, as was implied in the final, hospital-window scene."
Thank you for reading this analysis and I hoped I allowed you to grasp a better understanding of this 'instant classic'.
The following analysis of the ending of Birdman or (The Unexpected Virtue of Ignorance) is a look into how this amalgamation of deep symbolism and cinematic excellence make the ending of this film arguably one of the most profound in cinematic history, and a perfect ending to Iñárritu's masterpiece.
"To begin, the sudden take essentially provides a clear look towards the fact that Riggan Thomson (Michael Keaton) has indeed perished. The reason for this ending being so ambiguous to everyone is of great concern and confusion to myself; Iñárritu's description of life as "one full take" alludes to how Riggan has died, and the following hospital scene is a depiction of Riggan's "heaven", or paradise, a world in which he is free of the struggles of fatherhood, acting, and most importantly. the alluring, pressuring presence of his former self, Birdman. This is portrayed through the symbolic revealing of Riggan's face after taking off his medical mask, revealing a nose that aligns perfectly with that of the Birdman costume; sure enough, as Riggan steps out of the bathroom, Birdman's "goodbye" confirms what Riggan wants in his ideal world - to be free of this tantalizing identity.
Other symbolism in this iconic scene is the magazine, which Jake (Zach Galifinakis) provides to Riggan in his hospital bed, the title of which is 'The Unexpected Virtue of Ignorance', referring to the Raymond Carver-based play and Riggan's success. However, as we saw before, the critic Tabitha rushed out of the theater in what appeared to be contempt at the moment at which he kills himself, leading the viewer to believe that her suspicions regarding the play have been confirmed and that she is on her way to "kill the play" in a review, as was aforementioned. This positive review is once again a figment of Riggan's idealist dream, a want or lust for a positive review, to feel accomplished or fulfilled in his pursuit of "true art".
Minor symbolism in this scene includes the introduction to the scene, as during the transition a deserted beach is shown with birds flying away from dead jellyfish, symbolizing Riggan's true freedom from this identity, something which could only be accomplished through death. The press rushing into the hospital and his ex-wife's intimate embrace are all culminations of his wants, as these would not be attainable in reality.
Riggan's daughter Sam (Emma Stone) provides the paramount, overwhelming icing-on-the-cake to this profound film, as her entrance to the hospital room is one of the final events of the film. Her iconic view out of the hospital window (Which don't open, once again a figment of Riggan's imagination), provide an encapsulating finish to Riggan's idealist world, a world in which his daughter, and ultimately all of society (Symbolized by the media in the hospital) look up and remember him, finally making him relevant and proved by Sam's admiring look up to the sky where Riggan is finally free of cynical societal restraints."
To explain to some who may seem confused by the director's intentions with this ambiguous ending:
"If you look into the intricate details of the film, or "silver linings", you see what Innaritu tried to project - a man, delusional and suffering, somber regarding the intertwined nature of aging and relevance. Riggan thus seeks to escape this reality, this unfortunate truth, and finally reaches his ideal world through death. Also, I'd have to differ in terms of your analysis of Sam's reaction at the end. We see the complicated, difficult father- daughter relationship throughout the film between Riggan and Sam, and Riggan's anxiety regarding how he'll be remembered (Recall the plane incident with George Clooney that Riggan tells his ex-wife), and thus it makes sense that in his ideal world Sam would look up to him in admiration, as was implied in the final, hospital-window scene."
Thank you for reading this analysis and I hoped I allowed you to grasp a better understanding of this 'instant classic'.
Boogaloo and Graham
(2014)
A Quirky Commentary on Childhood and Suppresion
10 March 2015
Warning: Spoilers
Of any other short film this year, no other has been able to cram more symbolism and meaning into such a short time slot than "Boogaloo and Graham", let alone combine such intricate meaning with such subjugation of an audience in that same short time span. In the following analysis, "Boogaloo and Graham"s ability to both captivate, provoke, and be technically sound will be examined, culminating in a final round-up of this enchanting little film.
To begin, serious praise must be given to both Riley Hamilton and Aaron Lynch for providing such convincing performances; childhood actors can often receive significant criticism, but Hamilton and Lynch left absolutely no room for that with their charming, endearing performances. Martin McCann provides a stellar performance as the father with a tinge of childhood innocence left in him, a central figure in the underlying theme of the film. Finally, Charlene McKenna quite adequately filled in as the tantalizing, oppressive mother who repeatedly attempts to quell the kids freelancing attitude through her visible dissatisfaction with the chicken, the key symbolic figures in the film. Ultimately, the acting in the film is sound. Technically, the cinematography is on- point, with no notable flaws and remarkably consistent technique - major props to Mark Garrett for this. The setting is also very apposite, giving off a feeling of oppression in Belfast that contributes to viably to the film. Captivation is no issue with "Boogaloo and Graham", a great signal for the film, as an audiences innate attention is the first step towards promoting a worthwhile, relevant message.
Speaking of a message, "Boogaloo and Graham"'s is certainly original and unorthodox for such a charming and enthralling film, making it all the more preferable. The theme of oppression and the adventurous spirit of childhood is enhanced, as stated in the aforementioned analysis, by the setting. Oppression is everywhere around Jamesy and Malachy; in their town and their home, control and autonomy over their own lives comes at a premium, making their father's present of Boogaloo and Graham so special. They savor this control and freedom - from having the ability to name these chicken to sleeping with them to taking them wherever they go, Jamesy and Malachy are free of boundaries, an amazing occurrence in a society where everywhere they went, suppression and maltreatment loomed over them. Significant symbolism is also displayed through through how the chicken age, but not the children, showing how while their material possessions may age, they "stay golden", and remain youthful in their enchantment with the world; ultimately, they remain remarkably untouched by society, instead, through their actions, convincing their parents to keep the chicken and rather than promoting the continuation of oppression, endearing themselves to their kid's childhood freedom and infusing themselves with a little of this same attitude.
Ultimately, 'Boogaloo and Graham' is an enchanting tale of oppression, surrounded and molded around an adorable, enthralling story, a rarity and true gem of a 14 minute film.
To begin, serious praise must be given to both Riley Hamilton and Aaron Lynch for providing such convincing performances; childhood actors can often receive significant criticism, but Hamilton and Lynch left absolutely no room for that with their charming, endearing performances. Martin McCann provides a stellar performance as the father with a tinge of childhood innocence left in him, a central figure in the underlying theme of the film. Finally, Charlene McKenna quite adequately filled in as the tantalizing, oppressive mother who repeatedly attempts to quell the kids freelancing attitude through her visible dissatisfaction with the chicken, the key symbolic figures in the film. Ultimately, the acting in the film is sound. Technically, the cinematography is on- point, with no notable flaws and remarkably consistent technique - major props to Mark Garrett for this. The setting is also very apposite, giving off a feeling of oppression in Belfast that contributes to viably to the film. Captivation is no issue with "Boogaloo and Graham", a great signal for the film, as an audiences innate attention is the first step towards promoting a worthwhile, relevant message.
Speaking of a message, "Boogaloo and Graham"'s is certainly original and unorthodox for such a charming and enthralling film, making it all the more preferable. The theme of oppression and the adventurous spirit of childhood is enhanced, as stated in the aforementioned analysis, by the setting. Oppression is everywhere around Jamesy and Malachy; in their town and their home, control and autonomy over their own lives comes at a premium, making their father's present of Boogaloo and Graham so special. They savor this control and freedom - from having the ability to name these chicken to sleeping with them to taking them wherever they go, Jamesy and Malachy are free of boundaries, an amazing occurrence in a society where everywhere they went, suppression and maltreatment loomed over them. Significant symbolism is also displayed through through how the chicken age, but not the children, showing how while their material possessions may age, they "stay golden", and remain youthful in their enchantment with the world; ultimately, they remain remarkably untouched by society, instead, through their actions, convincing their parents to keep the chicken and rather than promoting the continuation of oppression, endearing themselves to their kid's childhood freedom and infusing themselves with a little of this same attitude.
Ultimately, 'Boogaloo and Graham' is an enchanting tale of oppression, surrounded and molded around an adorable, enthralling story, a rarity and true gem of a 14 minute film.
The Royal Tenenbaums
(2001)
Wes Anderson's Ageless Classic
9 March 2015
Warning: Spoilers
What happens when you combine the fast-paced eloquency and intricacy of a Wes Anderson film with a heartfelt message and an all star cast? Easily his best film, the rare Anderson film that combines brisk entertainment with a message that resonates, 'The Royal Tenenbaums' is an amalgamation of the aforementioned characteristics, and the following analysis will display how it both captivates and provokes, a rare occurrence in modern cinema.
To begin, lets examine just how 'The Royal Tenenbaums' captivates the audience in a way only Wes Anderson can - through the use of his always beautiful production sets, he successfully places you and I in his fictional world, controlling almost every single aspect of this world like a child building a fictional world from scratch. Alas, Anderson has always done this, as from 'Bottle Rocket', to 'Moonrise Kingdom', to 'The Grand Budapest Hotel', his enchanting sets always inspire awe, hence his multiple Academy Award nominations. His very distinctive screenplay is also very engaging, with his frequent narration proving charming and his unique ability to make choppy, sully dialogue appear, as was the namesake of this section, captivating.
To become a 10/10 film, however, a film must not only entertain, but provoke - Despite 'The Royal Tenenbaums' unique, quirky manner of projecting its theme, it is still relevant and meaningful. First of all, what is the theme? Imprisonment. While this sounds like a rather dark theme for a Wes Anderson film, or any film branded as a comedy in particular, that is part of the beauty of the film - the way it makes you laugh and feel at the same time. So, how is imprisonment relevant? Look at every character in the film, and how they are held back by a restriction, imprisoned and unable to break free until the end. The following list displays each character and their individual restriction, contributing to the intricate theme.
Royal - Royal is constantly imprisoned by his past actions of restricting his children in adolescence and is only able to break free by having to fake a terminal disease.
Etheline - Imprisoned by marriage, she is finally able to get a divorce and be freed at the end of the film.
Chas - Imprisoned by his wife's death, unable to break free and become his former self.
Margot - Restricted through taboo of brother-sister relationships, her marriage to Raleigh, and her cigarette addiction.
Richie - Imprisoned by the social taboo placed on brother-sister relationships and is constantly unable to communicate his feelings.
Henry - Restricted by his social standing, which makes it difficult to truly communicate his feelings to Etheline.
Raleigh - He has been restricted by his marriage and his constant thoughts of Margot having an affair.
Eli - Imprisoned by his drug addiction, as it essentially takes over and controls him - his rehab stint at the end of the film signals his freedom.
Uzi & Ari - Imprisoned by their father's overprotective nature, attempt to break free and 'live a little'.
Ultimately, 'The Royal Tenenbaums' captivates and sends out a unique, dark message regarding life, all while incorporating well put- together subplots, and incredibly creative world, and a story that makes its audience laugh and experience all in one remarkable, noteworthy amalgamation.
To begin, lets examine just how 'The Royal Tenenbaums' captivates the audience in a way only Wes Anderson can - through the use of his always beautiful production sets, he successfully places you and I in his fictional world, controlling almost every single aspect of this world like a child building a fictional world from scratch. Alas, Anderson has always done this, as from 'Bottle Rocket', to 'Moonrise Kingdom', to 'The Grand Budapest Hotel', his enchanting sets always inspire awe, hence his multiple Academy Award nominations. His very distinctive screenplay is also very engaging, with his frequent narration proving charming and his unique ability to make choppy, sully dialogue appear, as was the namesake of this section, captivating.
To become a 10/10 film, however, a film must not only entertain, but provoke - Despite 'The Royal Tenenbaums' unique, quirky manner of projecting its theme, it is still relevant and meaningful. First of all, what is the theme? Imprisonment. While this sounds like a rather dark theme for a Wes Anderson film, or any film branded as a comedy in particular, that is part of the beauty of the film - the way it makes you laugh and feel at the same time. So, how is imprisonment relevant? Look at every character in the film, and how they are held back by a restriction, imprisoned and unable to break free until the end. The following list displays each character and their individual restriction, contributing to the intricate theme.
Royal - Royal is constantly imprisoned by his past actions of restricting his children in adolescence and is only able to break free by having to fake a terminal disease.
Etheline - Imprisoned by marriage, she is finally able to get a divorce and be freed at the end of the film.
Chas - Imprisoned by his wife's death, unable to break free and become his former self.
Margot - Restricted through taboo of brother-sister relationships, her marriage to Raleigh, and her cigarette addiction.
Richie - Imprisoned by the social taboo placed on brother-sister relationships and is constantly unable to communicate his feelings.
Henry - Restricted by his social standing, which makes it difficult to truly communicate his feelings to Etheline.
Raleigh - He has been restricted by his marriage and his constant thoughts of Margot having an affair.
Eli - Imprisoned by his drug addiction, as it essentially takes over and controls him - his rehab stint at the end of the film signals his freedom.
Uzi & Ari - Imprisoned by their father's overprotective nature, attempt to break free and 'live a little'.
Ultimately, 'The Royal Tenenbaums' captivates and sends out a unique, dark message regarding life, all while incorporating well put- together subplots, and incredibly creative world, and a story that makes its audience laugh and experience all in one remarkable, noteworthy amalgamation.
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