His career path has followed that of Icarus, and, in a bid to avoid splashdown, and to restore his credentials, Riggan has chosen to direct and star in a play, adapted by himself from a Raymond Carver tale, on Broadway. He can barely summon the energy to remove his own wig. He was Birdman: he could fly, destroy his foes with a magic whoosh, and use his telekinetic skills to move random objects at will. Twenty years ago, Riggan, too, played a superhero, with a movie franchise to himself. The Bat-Mantle has rested uneasily on Keaton’s shoulders ever since, and something similar weighs upon his character, Riggan Thomson, in “Birdman.” His performance in “Beetlejuice” (1988) was halfway between a rush and a rash, and what drove his Bruce Wayne to fight crime, in “Batman” (1989), was not so much civic outrage as a rich man’s anxiety and ennui at supper with Kim Basinger, he confessed that he had never been in his own dining-room before, and, in “Batman Returns” (1992), he spat out vichyssoise as if it were chilled hemlock. It stars Michael Keaton, who has always behaved onscreen as if he knew that there was a raging mosquito bite somewhere on his person but could not quite locate it.
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