In this episode, Tyler and Josh discuss Alejandro G. Inarritu’s Birdman and Spike Jonze’s Adaptation.
Picture with me, for a moment, a machine. It has its own circuits, electrical impulses, and energy source. But this machine’s purpose extends beyond programmable functions to re-programmable functions. In other words, this machine can learn, can reason, and can deduce. It can evolve.
Whether or not you are Charlie Hebdo, current events make it obvious that comedy can be a lightning rod for dubiously justified anger. It’s always been so, as Mike Celestino’s ambitiously-scoped documentary That’s Not Funny illustrates, but the shock is that these days the expression of that anger can run the broad gamut from heckling a comedian to storming the offices of a leftist humor magazine with automatic weapons. Perhaps perversely, one aches while watching the film, which was produced before the Paris attack, wishing Celestino had just waited a few more months so he could include that most tragic of examples. But there’s enough grist for the mill in the history of American comedy to help him preach his sermon, and Celestino covers it all.
For about six months now, I’ve been trying to figure out what the big deal is about Boyhood. I had heard about the inventive filmmaking technique (segments filmed once a year for twelve years so that the actors age with the story), and that concept thrilled and fascinated me. I’ve enjoyed most of director Richard Linklater’s other works– particularly his Before trilogy of movies with Ethan Hawke and Julie Delpy– and the initial critical praise was overwhelmingly positive.