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“Human Capital” is a term used to assign a monetary value to an employee based on their knowledge, habits, personality, and creative and physical qualities. According to an insurance company, our lives have value, or in some cases very little.
Upon speaking with Paolo Virzi, the Italian director of his 12th and newest film Human Capital, he revealed he had calculated his own. Though he felt his value was awfully low given his age and his health, he’d agree that the real value of a human life is determined by the actions and behavior of humans that can only be considered priceless.
Human Capital is a three-part story surrounding a hit-and-run car accident as viewed by three different characters. It’s less Rashomon, more Amores Perros, capturing the dark edges, social commentary and young love embedded deep within the story. Following openings abroad, an American premiere in »
- Brian Welk
Never mind the other specialty films this weekend. It’s really all about Birdman (Or The Unexpected Virtue Of Ignorance) and its high-flying debut, averaging more than $100,000 per theater in its opening weekend.
The Venice/Telluride feature directed by Alejandro González Iñárritu and starring Michael Keaton had one of the best bows of the year, exceeded only by another of distributor Fox Searchlight’s specialty projects, last spring’s The Grand Budapest Hotel (that one opened in four theaters with nearly $203K averages).
But there was plenty of success this weekend to go around. Roadside opened Sundance fave Dear White People with gusto. Gkids’ The Tale Of The Princess Kaguya, Rocky Mountain’s Got The Father and Tribeca’s Listen Up Philip also had solid to decent bows in limited release. And TWC’s St. Vincent and Spc’s Whiplash held strong in their second frame.
Birdman nested atop the »
- Brian Brooks
With London and Chicago Fests ongoing, a few reports from each to cover more Oscar Submissions for Best Foreign Language Film. Here's our London friend David on Hungary's Oscar submission.
Let me start off, if you'll forgive me, by citing that oldest and meanest of acting adages: the one about never working with children or animals. That seems to be in the heads of every adult we see on-screen in White God, for every single one of them, without exception, treats an animal or a child badly in one way or another. Fortunately for the audience, the film is on their side. Violently so; be mean to a dog in White God and you'll be lucky if you don't get your bloody throat ripped out.
After a prelude in which Lili (Zsófia Psotta) is pursued through a deserted city by a hoard of dogs in what can only be described »
The Digital Era: Real-time Films From 2000 To Today
40 years before, in 1960, lighter cameras enabled a cinéma vérité-flavored revolution in street realism. By 2000, new digital cameras suggested a whole new set of promises, including telling stories that would have been unimaginable within minimum budgets for features even ten years before. In 2000, film purists warned that digital still didn’t look as good as celluloid, but that didn’t stop at least three innovative filmmakers from boldly going where no filmmaker had gone before. Mike Figgis’ Timecode (2000) was the first star-supported (Salma Hayek, Stellan Skarsgard, Holly Hunter, among many others) single-shot project since Rope, underlining that earlier film’s timelessness. If Run Lola Run could do one story three times, then Timecode would do three or four stories one time: the movie is four separate ninety-minute shots shown all at the same time, each in one quadrant of the screen. Where do you look? »
- Daniel Smith-Rowsey
The layers blurring reality and fantasy run deep with Alejandro González Iñárritu’s new film, Birdman, both within the story and in real life. Iñárritu had become known for his trilogy of everything-is-connected mope-fests (Amores Perros, 21 Grams, and Babel), and then followed those up with a widely panned film called Biutiful that straightened out the narrative intricacies but still kept all the misery porn. So what to do next? Well, I wouldn’t call it a comeback, just as Birdman’s main character, a struggling actor named Riggan Thomson (played by Michael Keaton) who played an iconic superhero character twenty-five years ago and who is struggling to put on a Broadway adaptation of a Raymond Carver short story, wouldn’t call it a comeback either. Iñárritu’s wild meta-commentary comedy Birdman instead eschews categorization and proudly defines itself as an unconventional tour de force.
Taking place completely in and around the St. »
- Sean Hutchinson
Perched at the top of this week’s flock of specialty film debuts is Birdman (Or The Unexpected Virtue Of Ignorance), a possible Oscar contender starring Michael Keaton. Though it’s a limited release, Alejandro González Iñárritu‘s complex film about a fading action-hero trying to reclaim his mojo on Broadway nevertheless combines elements of a superhero franchise that could tap fans well beyond the art house.
It’s part of yet another big flock of specialty film debuts coming this weekend, including the controversy-minded Sundance award-winner Dear White People, William H. Macy‘s directorial debut Rudderless, Kristen Stewart‘s Camp X-Ray, Jason Schwartzman‘s Listen Up Philip, The Golden Era, Summer Of Blood, and one great revival, Alain Resnais’ 1959 landmark Hiroshima Mon Amour.
To get a sense of Fox Searchlight’s ambitions for Birdman, the film closed the New York Film Festival last weekend to strong reviews, but then »
- David Bloom
Starting with "Amores Perros," it has been obvious that Alejandro González Iñárritu is fascinated by the darkest corners of the human heart. It is easy to imagine that is the sum total of his gift as an artist is inflicting misery on these people he creates, but that's a misreading of his work. Yes, "21 Grams" and "Babel" and "Biutiful" are movies in which misery is as omnipresent as oxygen, but there is also proof that he believes in redemption and mercy and moments of grace, or at least the struggle towards those things. He has never found the balance between the light and the dark with quite the same skill as he does in his new film "Birdman, or (The Unexpected Virtue Of Ignorance)," and the result is one of the most thrilling pieces of film craft that I've seen so far this year. Iñárritu worked with co-writers Nicolas Giacobone, »
- Drew McWeeny
Exclusive: When Birdman director Alejandro González Iñárritu stumbles into a suite in the Park Hyatt with his co-writers Alexander Dinelaris Jr, Nicolas Giacobone and Armando Bo, each feels the influence of last night’s party after their film closed the New York Film Festival. A little hung over and more than a little giddy at the rousing response given their frenzied film that was backed by New Regency and will be released Friday by Fox Searchlight, they swap stories of a wild night that included card tricks by street magician David Blaine that left them dumbstruck. Mostly, they are relieved to have pulled off a major parlor trick with Birdman, a satire that in equal measure skewers Hollywood’s superhero fixation, artistic insecurity, and even holier-than-thou critics who kill Broadway shows.
They did it with a movie that plays more like Black Swan than any recent Oscar buzzworthy black comedy to come along since. »
- Mike Fleming Jr
This year's New York Film Festival came to a satisfying conclusion with one of its best selections, Birdman, or (The Unexpected Virtue of Ignorance), the oddly titled (and punctuated) fifth feature by acclaimed Mexican filmmaker Alejandro G. Iñárritu. Returning in spirit (if not in tone or content) to the brash exuberance of Amores Perros, his 2000 debut feature, Birdman marks a major departure from his previous trio of features - 21 Grams, Babel, and Biutiful - in which Iñárritu wore the mantle of Serious Filmmaker Taking on Important Themes, to increasingly overwrought and self-important results. In his latest outing, Iñárritu successfully throws off his self-suffocating pretensions to deliver a satirical, visually audacious movie, crackling with wicked humor and aesthetic bravado, targeting artistic types and pop...
[Read the whole post on twitchfilm.com...]
"Why don't you make more movies?"
It's a quandary that has long bedeviled moviegoers just as it has, so it seems, heads of state. Why did the roundly beloved Keaton - a manic comic actor, an intense live wire, a real-deal movie star - become such an infrequent presence on the big screen?
Even at the height of Keaton's stardom in the 1980s and '90s, he was famously picky, usually doing a movie a year and turning down about as many hits (Splash, JFK, among them) as he said yes to. But after a handful of flops in the late '90s and early 2000s, Keaton all but disappeared from movies.
"I did turn a lot of things down. But a lot of the things I turned down, you would have turned down, »
- Cineplex.com and contributors
Bullets Over Broadway: Inarritu’s Vibrant, Exuberant Portrait Of Celebrity, Relevance, and Creative Passion
Not only is Birdman (or The Virtue of Ignorance) arguably the best film of Alejandro Gonzalez Inarritu’s impressive filmography (from a list that includes Amores Perros, 21 Grams, and Biutiful), it’s one of the most invigorating and passionately rendered films you could hope to see in this or any other year.
Exploding with a vibrant, restless energy, it’s one of those films able to manage the tricky balancing act of melding a real life persona with an allegorical dress. At its base level concerning a has-been Hollywood icon desperately trying to get out of the mainstream rut he sank into years before with a creative comeback to showcase his talents, the parallels between Michael Keaton’s career as Batman and another faded star with an avian-suited superhero background are, obviously, readily discernable, lending »
- Nicholas Bell
Birdman, the new film from Alejandro González Iñárritu, has been one of our most anticipated films of 2014. The movie, which opens limited on October 17, has released two new clips which we’ve embedded below.
We caught our first screening of Birdman over at Telluride last month. In her amazing review, Lane Scarberry writes, “ Birdman is director Alejandro González Iñárritu’s mad masterpiece about one man’s search for relevance and validation. It’s a striking and welcome return to form for Michael Keaton, who has long been absent from the spotlight, bar occasional supporting roles in the likes of The Other Guys and the RoboCopremake. The surprisingly meta world of Birdman is more along the lines of a Charlie Kaufman concoction than something Iñárritu would normally attempt. His crushingly sad takes on existence in Amores Perros, 21 Grams, Babel and Biutiful have inventive plot devices about intersecting lives, but Birdman is »
Birdman, the new film from Alejandro González Iñárritu, has been one of our most anticiapted films of 2014. The movie, which opens limited on October 17, has recieved a series of great posters placeing the hero himself in watchful positions on landmarks from cities across North America.
We caught our first screening of Birdman over at Telluride last month. In her amazing review, Lane Scarberry writes, “ Birdman is director Alejandro González Iñárritu’s mad masterpiece about one man’s search for relevance and validation. It’s a striking and welcome return to form for Michael Keaton, who has long been absent from the spotlight, bar occasional supporting roles in the likes of The Other Guys and the RoboCop remake. The surprisingly meta world of Birdman is more along the lines of a Charlie Kaufman concoction than something Iñárritu would normally attempt. His crushingly sad takes on existence in Amores Perros, 21 Grams, Babel »
Picturehouse has acquired U.S. rights to Gloria, the controversial Mexican biopic based on the rise, fall, and rise of Latin American pop-rock icon Gloria Trevi. The musical drama stars Sofia Espinosa as Trevi, the singer-songwriter who earned the nicknames “The Mexican Madonna” and “The Supreme Diva of Mexican Pop” with her sexually- and politically-charged brand of chart-toppers in the ’80s, ’90s, and 2000s. After signing off on the project, Trevi attempted last year to block the project from moving forward. A January 2015 release is now planned with Universal Pictures International releasing the film in Mexico and Latin America.
Trevi, who’s sold over 20 million records in her 25-year career, is no stranger to controversy. In 2000 she, manager-husband Sergio Andrade, and a backup singer were arrested and charged with corrupting minors in a sex cult; Trevi spent over four years in jail before being acquitted and freed. She released »
- Jen Yamato
The summer movie season is behind us, and there is a lot to look forward to in the closing months of 2014. As always there’s plenty of adult dramas to dig through, but the year’s final releases are an eclectic bunch ranging from massive-scale sci-fi films to psychedelic period romps, and there are more than a couple of new releases from some of the best filmmakers working today. It’s an embarrassment of riches, but Matt, Adam, Perri, and Evan have each pored over the release calendar and picked out their five most anticipated films of this final quarter. It certainly wasn’t easy. Hit the jump to find out what they can’t wait to see and why. Matt's Picks [Note: I've seen Men, Women & Children, Whiplash, Gone Girl, Nightcrawler, Rosewater, and Foxcatcher. In case you're wondering, they're all worth seeing.] Birdman Director: Alejandro González Iñárritu Cast: Michael Keaton, Edward Norton, Naomi Watts, Emma Stone, Zach Galifianakis, Andrea Riseborough, and Amy Ryan. Release Date: October 17th (Limited) Why I'm »
- Collider Staff
It’s only just October and already the Oscar season has grown ugly. And it’s not even the contenders battling for rank.
The heat is coming from the pundits themselves, who have already grown weary of some of their colleagues’ Bs and perpetual trumpeting. In Mark Harris’s brilliant first post about the Oscar race so far, he goes as far as to say that in “the real world”, there isn’t even a race yet. He tears apart the notions of rules, statistics and trends confirming nominees, and he laughs at the idea that each month or week there’s a new movie that changes everything about the race.
But there is excitement in the real world. This weekend Gone Girl is opening to raves and three of the most anticipated movies of the year in Inherent Vice, Interstellar and Exodus: Gods and Kings, got trailers. All of »
- Brian Welk
As we get into the full swing of the fall movie season, one of the films we’re most interested in is Birdman, from Alejandro González Iñárritu, also the director of Amores Perros and 21 Grams. We’ve already seen some head over heels reviews of the movie thanks to early festival appearances. Now there’s a great new Birdman poster, which […]
The post See a New ‘Birdman’ Poster and Images appeared first on /Film. »
- Russ Fischer
I am counting down the days until I get to see Birdman or (The Unexpected Virtue of Ignorance (28, for those wondering). Reviews have been glowing. I recently rewatched Alejandro Gonzalez Inarritu's Amores Perros and 21 Grams, and my anticipation only rises from there. I am also a total sucker for backstage stories, and this looks like one of the stranger ones. I would probably be pumped for this even if it did not have all the Oscar buzz and great word of mouth simply because Michael Keaton is in it, but that buzz does not hurt. Today, we are treated to, or assaulted by, a new poster. I say assaulted because that red really catches your eye in a very intense way. I do not think that is a bad thing. In fact, I am glad there is a poster out there that grabs my attention. Usually, if a poster gets me to look at it, »
- Mike Shutt
Written for the screen and directed by Jon Stewart
Rosewater, the directorial debut of The Daily Show host and stand-up comedian Jon Stewart, is a modest retelling of one man’s prolonged imprisonment for honestly reporting about Iran. It’s an engaging exercise about political transparency made possible by the modern media that’s obviously close to Stewart’s heart. This is serious content interlaced with sporadic interludes of comedy that in Stewart’s hands sails smoothly along without seeming inappropriate or misplaced.
The amiable journalist Maziar Bahari (Gael García Bernal) falls into the role of responsible witness while filming protests that turn deadly following the questionable re-election of Mahmoud Ahmadinejad as the President of Iran. Bahari spending time with citizens who oppose Ahmadinejad to get a broader perspective for his writing, forwarding the bloody protest video to media outlets, and taping a silly interview for The Daily Show »
- Lane Scarberry
Directed by Alejandro González Iñárritu
Birdman is director Alejandro González Iñárritu’s mad masterpiece about one man’s search for relevance and validation. It’s a striking and welcome return to form for Michael Keaton, who has long been absent from the spotlight, bar occasional supporting roles in the likes of The Other Guys and the RoboCop remake. The surprisingly meta world of Birdman is more along the lines of a Charlie Kaufman concoction than something Iñárritu would normally attempt. His crushingly sad takes on existence in Amores Perros, 21 Grams, Babel and Biutiful have inventive plot devices about intersecting lives, but Birdman is wholly about the grand hallucinatory ego of one man and the stories that happen to briefly touch him. Both Keaton and Iñárritu provide us with ample reasons to admire the off-the-wall, swirling existential crisis that is Birdman. »
- Lane Scarberry
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