Michael Keaton

In films like 21 Grams, Biutiful, and Babel, he revels in the misery of his characters and then contrives to make them even more miserable. Don’t get me wrong, there’s plenty of misery and pretentiousness in Birdman (which is subtitled The Unexpected Virtue of Ignorance) but its mostly psychosomatic—and often played for laughs, which is a new thing for Iñárritu.


Trevan and Trey go over a pair of movies this week: Robocop and Gloria, which couldn’t be more different.


The satire is still there, albeit not as angry and way more obvious, and the targets have shifted ever so slightly to keep up with current events. Had the film been a carbon copy, though, there would have been no point in making it.