It's the masterpiece of contemporary filmmaking

Rating: 10/10 (25 May 2015)

There's been a while since I've seen such a great combination of features in a movie. It is not a regular film, with a standardly tied plot, and it seems like it has led to it been poorly evaluated by it's watchers. Don't get me wrong, I don't think I am a specialist in movies myself and I even didn't get to all this conclusions alone, but it worries me that even the critics reviews don't quite touch important aspects of the film as I will try to.
Let's begin with the technical aspect. The long Shot.
For god's sake, you can't tell me this was a random choose by Iñarritu. The film is about someone who has chosen to put everything he had left in making a play. That mean that if he makes the wrong movement, he will me damned. In a play, as well as in life, as well as in the (suposely) single-shot filming, there can be no mistakes. The drums in the back are not gratuity as well. It mark this constant noise that makes Keatons thoughts more intense and are marking the mood for a jazz-like improvisation - and again, the thought about one risking itself in making something without the possibility of doing it wrong and fixing it later - that never happens. It sets the anticipation for something that doesn't take place, what only makes the anxiety more intense.
Carver (the writer in which work Keaton based his script) is another important point here. He is a realist writer. When Mike – drunk as Carver probably was while writing most of his books - starts shouting at Keaton saying that scenario is way to unreal he is saying one must feel like Carver in order to make a play about him. He than grabs a chicken leg in the refrigerator while saying "The only thing real in this stage, is this chicken". He is reinforcing the main plot, stating that Keaton is never going to make it to theater, because he is and is going to be forever Birdman, and nothing but it.
Mike is the character that make us feel like the play is actually the only thing real about all that story. He can't ever get an erection out of stage. That stage is a place that leaves you totally vulnerable (in your underpants) and at the same time can be where you are totally confident as Mike trying to have sex during the play.
I consider the end good as well, but I can understand some of the critics about it. It marks the only assumed cut and does change the film for the first time to a sequence of more cliché statements like "now the world loves you", but I still think there are here some pretty good moments, like Keaton's bandage forming an obvious Birdman's mask, and the possibility of interpretation on the final "Fly" by Keaton.