Alejandro González Iñárritu has made some of the strongest and most impactful dramas over the past decades such as Amores Perros (2000), Babel (2006) and Biutiful (2010). His latest film is an attempt at comedy, and the Mexican master proves he has now troubles handling this genre as well, with a steady and confident hand. Technically, Birdman or (The Unexpected Virtue of Ignorance) is already hailed as a masterpiece with Emmanuel Lubezki’s stunning cinematography and its seamlessly one-take edit throughout. With all this talent behind the camera the pressure is all on its ensemble in front of it. And boy is it a great ensemble. Michael Keaton delivers a career best performance in the lead, and he is surrounded by Ed Norton, Emma Stone and Naomi Watts who all play to their peak abilities. There is even room for an out of type role for Zach Galifianakis, who excels as the closest thing Keaton has to a sidekick. It is a memorable and endlessly entertaining piece of work that ranks right up there with Iñárritu’s finest work.
The word upon its first arrival showcased Foxcatcher as a breakthrough for Steve Carell in his first major dramatic role. And sure, he is terrific and the part of John du Pont is guaranteed to stand as a milestone in his career, but this film is so much more than just that. Bennett Miller won the best director award at last year’s Cannes festival, and the majority of any kudos should with no doubt be delivered his way. This film shows a director in complete control, perhaps at the peak of his career, handling the disturbing and layered story’s action with elegance, composure and without fear. Channing Tatum as Mark Schultz continues to prove there is more to his skill set than playing the bulky action star or gross-out comedy lead. Mark Ruffalo delivers a beautiful and modest performance as his brother Dave, able to let the spotlight shine elsewhere while still grabbing your complete attention in every scene he’s in.
One of the best sleeper hits and great surprises out of the American independents of last year is without a doubt Whiplash. Damien Chazelle’s engaging drama about Miles Teller’s young and ambitious music student who needs to impress the intense teacher J.K. Simmons is indeed a triumph for everyone involved. The veteran Simmons – the most bankable Oscar winner this year – has created his most memorable character to date (and there has been quite a few!) while the young Teller is a revelation in a demanding leading role. On screen together they are an unlikely pair of powerhouses and when they go toe to toe you can literally feel the beats in each breath. It’s an electric set of performances that deserves applause and greater opportunities for both. Director Chazelle has a tendency to get carried away with the melodrama, and there are parts where you feel them coming on, but thanks to his convincing performers in front of camera he gets away with it. Make sure you see it on the big screen. These drums need to be both seen on and heard from the big screen.
ESSENTIAL LISTENING THIS MONTH:
This writer is a sucker for good album titles and one of the best ones in a long time comes courtesy of the new Belle and Sebastian record. Girls in Peacetime Want to Dance is the ninth studio album from the Scottish indie darlings and it is another collection of lovely mellow pop tunes, that should satisfy most fans and find its use in most every occasion. This is unmistakably Belle and Sebastian back to their most charming and accessible best. In this writer’s opinion the early albums from the 90s - including their masterpiece debut Tigermilk (1996) – is still the best of their discography and even though their releases over the past decade have been enjoyable they did not have the initial effect of memorable tracks. The odds are better with this album and hopefully it means front man Stuart Murdoch and company can start another spell of strong records as the band enter their third decade together.
Having enjoyed a commercial breakthrough of sorts with their previous album - the brilliant The King is Dead (2011) - the release of The Decemberists’ seventh studio record comes with a higher degree of anticipation than the Oregon indie rockers are used to. What a Terrible World, What a Beautiful World does not have the immediate impact as the previous, but this is still a highly enjoyable record packed with quality rock and folk tracks. The quintet seems to be more open to express themselves, leaving each song on the table with very little fuss or much ado around it. In this case that works as a good thing, making the songs easy to take in and there is an element of an encouraging sing along factor here that has not always been the case with this group. But The Decemberists know what they’re doing and there is an honesty and simple approach to this collection, without compromising the integrity of neither the band nor their genre. It’s a terrific album that should fall in good taste with both the new fans they recruited last time around as well as the ones who’ve been going along since the beginning.
Having been around for what seems like quite a while, performing and producing material for various outfits and occasions, it’s almost difficult to believe that Ryan Bingham is still just 33 years old. This month he released his fifth studio album Fear and Saturday Night and it confirms the already respected and admired name he’s established for himself within the Americana / Folk genre. Bingham still has an ear for the grandiose and isn’t afraid to hit hard on those emotional chords, but at heart there is still something very tender and heartfelt about his music. His charismatic voice, rough and weary, elevates some of the more simple tunes to impressive heights and the end result is a complete and well composed album that should continue to carry his career onwards and upwards both stateside and around these parts.
Here is an acoustic performance of My Diamond is Too Rough, one of the more quiets tracks on the album.
