Birdman (2014)

When we first see Michael Keaton as a has-been Hollywood actor at the opening of tar-black fable “Birdman,” he is floating in midair as the intimidating voice of his once big-screen superhero alter ego -– see the title -– talks aloud inside his own head. That’s the start of this wondrously warped story. Yes, Keaton, who played comic book hero Batman, plays an actor who played comic book hero Birdman. Meta comedy is promised and delivered. Plot: Keaton’s Riggan Thomas is determined to reset his relevance by staging a Broadway play. The impossible task consumes Riggan: His lead actor is a prickish actor played by infamously prickish actor Edward Norton, and Riggan’s daughter (Emma Stone) teeters on drug relapse. Stone, of course, plays Spider-Man’s girlfriend. Spider-Man appears as a mocking taunt. Brilliant. Questions pop: Mainly, Will Riggan escape Birdman? Director Alejandro G. Inarritu serves a must-rewatch film about a man more scared of obscurity than death and a damning of the Marvel Movie Universe ruling cinemas and then flames his own film as Marvel-like action plays out. More than the art-house deep-thoughts comedy, this strange film is pure wicked fun to watch unspool. A

Moonrise Kingdom (2012)

Ten minutes into “Moonrise Kingdom,” I realized I had my fill of Wes Anderson, the Gen X darling filmmaker who tells tales of quirky hipsters and outsiders using ironic air quotes peppered with hip art deco sets and hip costumes. I’m sick of all of Anderson’s hipness. The guy aims and fails for some aura of New Wave French film with a story about pre-teen love birds (Jared Gilman and Kara Hayward) on the run from parents, police, and Khaki Scout Troop leaders in 1960s New England. To woo youngsters, Anderson tosses in fires, floods, storms, impaled dogs, and so much forced acting from famous actors (Bill Murray, Frances McDormand, Bruce Willis, and Edward Norton among them), that it all feels like the over-the-top high school play that closed out “Rushmore,” a damn fine film. Yes, Jason Schwartzman appears. So does Bob Balaban as a narrator who changes camera lights. The obnoxious music score almost drowns out the realization that the central arc of Hayward as a beauty hip (again!) to Euro culture falling for a sad nerd is bullshit. Anderson’s kingdom of cool -– I loved “Fantastic Mr. Fox” -- has gone tepid. I’m out. C-

25th Hour (2002)

Edward Norton rules in “25th Hour,” a knockout post-9/11 New York drama about a dealer on his last free day before staring a 7-year prison stint. His Monty is a brilliant guy who dumped his gifts and turned stupid and lazy by pushing dope. That’s one of the marvels of Spike Lee’s in-your-face drama, Monty is likable, but guilty, he’s never celebrated, and as one of his best friends says, he deserves the millstone. Monty comes to recognize that. The 25 hours sees Monty reconnect with his best chums – a high school teacher (Philip Seymour Hoffman) lusting for a student and a narcissistic stockbroker (Barry Pepper), wonder if his girlfriend (Rosario Dawson) ratted on him, and console his heartbroken pop (Brian Cox). Meanwhile, the attacks of that awful Tuesday morning weigh harsh, how could they not, and how could Lee – a New Yorker – ignore the wound? Brutally honest and caustically funny, “Hour” is anchored by a beaut of a long nightclub scene where Monty learns prison isn’t his only worry. Lee is a genius at showing smart guys getting torched by their own sins. He ought to adapt Ellroy’s Underworld USA trilogy. A

‘The Illusionist’ and ‘The Prestige’ (Both 2006)

I saw the magic-themed “The Illusionist” and “The Prestige” back-to-back in 2006, on purpose. Just recently, I re-watched them within a week of each other by mere coincidence. My reactions remain just about the same.

“Illusionist” is a star-crossed love story about a wildly imaginative magician and the love of his life. Magic man Eisenheim (Edward Norton) and princess-to-be Sophie (Jessica Biel) loved each other as children, but life shit happened. They split. Decades later Eisenheim arrives in Vienna, ready to woo Sophie from the cruel prick Crown Price Leopold (eternal bad guy Rufus Sewell). To grind Eisenheim down, the prince has a lapdog policeman (Paul Giamatti) who is corrupt, but yet a fan of showmanship and art. This is Giamatti’s film. He outclasses everyone, without raising his voice or getting all puppy-eyed. Norton and Biel provide kennels full of puppy eyes. The film tosses out a “gotchya” plot that’s not nearly as clever as it wishes to be. Norton’s stage presence as Eisenheim is winning, even if the magic is too CGI-heavy. The much-praised cinematography is a pitch too arty even for me. B

“Prestige” is based on a favorite book, so it has a lot to live up to. The plot concerns two rival magicians in London who start as friends, but soon enter a game of one-upmanship and then deadly, bloody games on and off stage. The instigation: An on-stage death of one’s beloved. Angier (Hugh Jackman) is a stage natural, but needs help pushing the core of his trade. Borden (Christian Bale) is the opposite: He is genius at magic design, but a boorish stage presence. Merged in one body and soul, the men would make one hell of a talent. Director Christopher Nolan has a long obsession with what forms a person’s identity, or breaks it. The reveals of “Prestige” allow Nolan to play large. But this isn’t “Memento” or “Inception.” It’s too cold and calculated, and in need of magic dust. So to speak. Nolan avoids supernatural themes that ruled the book, and some acts don’t come off justified: When a major character commits suicide, it seems only blasé inevitable. B+

The Incredible Hulk (2008)

"The Incredible Hulk" isn't a sequel to the ill-fated "Hulk" that Ang Lee directed in 2003. Rather, it's a reboot that hits closer to the comic book's tone by upping the action while bringing in familiar villains that superhero geeks like me grew up on.

Lee's "Hulk" could have been great, it's editing mimicked the look of comic book pages flipping and it fully explained the Hulk's pre-gamma origins, but it crumbled under the weight of a self-important script, a nonsensical climax and an unholy Nick Nolte.

Here, Edward Norton ("Fight Club") takes over from Eric Bana as Bruce Banner, the scientist on the run who becomes the giant, menacing Hulk when he is angered. The film pretends the Ang Lee version never existed -- a new origin is introduced and fully told within the opening credits. From there were in the plot: General Ross (William Hurt) is tracking down Banner, who is hiding in South America. Under Ross' command is the ruthless military nut Emil Blonsky (Tim Roth), a Russian-born Brit who's willing to undergo a physical change of his own to take down the Hulk.

While not as stellar as "Iron Man" or "The Dark Knight," this "Hulk" surpasses the 2003 version with a story that is more simple but not simplistic. This means, of course, that the ending will consist of an over-the-top fight scene, but, hey, that's why we're here, right?

Norton is a better actor, and the depiction of the Hulk is far better both in spirit (he talks and shows intelligence) and vision (while not perfect in every scene, this CGI creation seems for the most part to have presence and mass).

Some manna for fan boys: Lou Ferringo, who played the Hulk in the TV show, is the voice of the Hulk and a security guard; Stan Lee has a cameo; music from the TV show is utilized and The Leader is introduced. I hated the last scene, though, with Robert Downey Jr. as Tony "Iron Man" Stark, talking up a "team" of super heroes. It's a stunt and plays exactly like one. It should have been tossed behind the credits, a move "Iron Man" was smart to take. B