Zach Galifianakis

A spin-off from 2014's awesome The Lego Movie, this raucously paced action-comedy is proof that nonstop hilarity isn't enough. Genre fans will adore the relentless barrage of silliness, as wordplay, sight-gags, film references and elaborate jokes pile on top of each other. But it's all rather exhausting, because the story is simply too slippery for the audience to hold onto.

When we catch up with Batman (again voiced by Will Arnett), he's revelling in his lonely life surrounded by his huge collection of gadgets in the cave under Wayne Manor, where his only companion is his sardonic butler Alfred (Ralph Fiennes). But an encounter with the Joker (Zach Galifianakis) gets him thinking about his solitude, and new commissioner Barbara Gordon (Rosario Dawson) wants to work with him rather than let him do everything on his own. Then he inadvertently adopts the orphan Dick (Michael Cera), just as the Joker puts into motion a nefarious plan to unleash an army of bad guys on Gotham City.

The film pings from one crazed action set-piece to the next, packing comical touches into every image and each line of dialogue. The audience has little choice but to hold on for the ride, and since it's impossible to see every gag that flies at us, this is clearly a movie that requires multiple viewings. The problem is that the story and characters aren't very inviting. Arnett's gruff whisper is genuinely hilarious, especially in his postmodern flights of fancy, but Batman is a preening idiot, really. Dawson, Cera, Fiennes and Galifianakis are more likeable, but are sidelined in the story. And the sprawling, mega-starry supporting cast offers a continual stream of solid laughs. But it's all so frantic that the sentimental themes in the story never get a chance to resonate before the script makes fun of them.

Continue reading: The Lego Batman Movie Review

Mexican filmmaker Alejandro Gonzalez Inarritu continues to reject traditional narrative structures with this whizzy, ambitious exploration of celebrity, art and commerce. And the clever casting of Michael Keaton adds another layer of meaning to the whole film, which is shot as one long wildly entertaining single take and pointedly subtitled "The Unexpected Virtue of Ignorance". Blackly hilarious and darkly emotional, this is an exploration of how show business can push a person to the brink of madness. And maybe knock them over the edge.

Keaton stars as Riggan, once a top movie star known for his three Birdman blockbusters. But he hasn't done anything notable since, and is now trying to reboot his career by directing, adapting and starring in a Broadway play based on a Raymond Chandler story. The problem is that no one will let him escape from the iconic superhero character he's best known for, least of all Birdman himself, who mentally haunts and taunts Riggan at every turn. Meanwhile in the theatre, Riggan locks horns with costar Mike (Edward Nortan), a controlling show-off brought in at the request of lead actress Lesley (Naomi Watts). As opening night approaches, Riggan and his producer-friend Jake (Zach Galifianakis) are also struggling with the demands of high-maintenance costar Laura (Andrea Riseborough), plus distractions from Riggan's daughter-assistant (Emma Stone) and ex-wife (Amy Ryan).

Inarritu and ace cinematographer Emmanuel Lubezki tell this story as if it's one continuous snaky shot with the camera following Riggan through the maze-like backstage corridors, into the theatre and out into nearby Times Square streets. The virtuoso filmmaking is simply breathtaking, and it works perfectly because all of the characters are packed with pungent details and fully developed inner lives. The actors find all kinds of quirks that are both hilarious and darkly thoughtful, creating jagged interaction as they cross paths with each other, sparring riotously for attention. Every scene bristles with startling revelations and barbed jabs at the Hollywood system.

Continue reading: Birdman Review