(NOTE: The following review will contain minor spoiler necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Norman, a young man very much in love with his girlfriend, attends her father's birthday party, held in a hotel where a sect happens to be preparing for the birth of the god it worships.”
The utilization of the real-time storytelling format has never – never – had a better exhibition than it got with Fox Television’s stellar Action/Drama 24. In that award-winning procedural, Counter-Terrorism agent Jack Bauer (played by Kiefer Sutherland) found himself spending the lion’s share of 24 hours battling villains hell bent on bringing America to its knees; and the series even used the ticking clock format to highlight the slowly smoldering currency of time itself being our most precious and most perishable resource. While the show’s subplots didn’t always work as efficiently, the main premise – the race against moments to prevent a massive catastrophe – was almost always the stuff of fabulous entertainment.
Essentially, writer/director Eugenio Mira picked up that framework and straddled it to The Birthday (2004), a hybrid that plucks tropes from a variety of genres but chiefly makes the best use of ones from Horror and Science Fiction. Instead of giving his tale a full twenty-four hours, Mira wraps everything up – well, yes and no – in what could’ve, would’ve, and should’ve been a lean and mean two hours – well, 117 minutes, but you get the point – but the director along with co-screenwriter Mikel Alvariño could’ve used a primer in maintaining the principal plotline efficiently since this Birthday moves much too slowly and invests in inconsequential screen trickery all too often.
Norman Forrester (Corey Feldman) is the ultimate sad sack of the downtrodden schlemiel. While his heart is undeniably in the right place, he can never seem to speak his mind nor convey the proper sentiments freely; and, as such, he’s always found himself a bit pushed around and/or bullied by those around him, including his incessantly self-centered girlfriend, Alison Fulton (Erica Prior). But on the cusp of Alison’s father turning another year older, Norman attends the festivities at the wealthy family’s soon-to-be-closed hotel with the intention of finally breaking through all the noise and asking for the young woman’s hand in marriage. In general screwball Comedy fashion, everything that could go wrong does, and that even includes the attempt of a Lovecraftian-type demon finding a means to open a portal through which it’ll (likely) conquer our world.
Wouldn’t you know it? Why, it’ll be none other than Norman Forrester who’ll stand in its way.
Suffice it to say, The Birthday isn’t exactly all that unpredictable. What works best in here is Feldman’s acting: while such a character rarely if ever is meant to be at the center of a cosmic collapse, that’s entirely why such a satire like this works. Not unlike those lovable nitwits ‘Ted’ Theordore Logan and Bill S. Preston, Esq. (of the Bill & Ted movie franchise fame) saving our collective tomorrow by time traveling to complete what amounts to a book report, The Birthday embraces the good-natured knucklehead who – by hook or by crook – defies the odds and becomes the hero we never knew we needed much less expected him to be. Granted, The Birthday lacks Bill & Ted’s sense of fun; but it’s clearly derived from the same moral stomping ground.
Where Birthday falls apart, however, is it invests far too much time in the minutiae of Norman’s normal existence, made even less admirable owed to the real-time format. Viewers are taken on seemingly endless elevator rides and walks down the Fulton Hotel’s corridors or stairwells where nothing happens; so the picture constantly feels as if it’s starting over with Norman’s arrival in a new spot. Rather than organically flowing together – like the aforementioned 24 did with its labyrinthian plotlines – Birthday chugs and chugs through twists inserted to give our main character something today until the next development arrives. Even his and Alison’s successive banter seems to ignore the fact that – ahem – they’ve been here before; so why (oh why) do we keep arguing the same core issues? Is that all life is for these people? If so, then perhaps they are better off apart as opposed to joined.
Stylistically, Mira definitely gives the audience a great deal to distract them from the lack of a central plot (until the second half). The sets – while colored a bit dour – arguably lend to the aesthetics of a world in need of a facelift – as do the lives of so many characters in this – only hinting here and there at the vivid lushness of a hotel near the peak of its usefulness. Graphically, the director makes great use of some wide-open spaces still feeling increasingly claustrophobic as things go wrong; and he even manages to squeeze in some great turns and pans in sequences where they’re put to thematic use. While nothing diverts attention enough from the fact that there just isn’t enough narrative focus to the protracted set-up (a vastly shorter cut of this could’ve had a better chance with finding an audience), the film nonetheless retains the workmanship quality which suggests – if nothing else – better days could be ahead if Mira finds a balance between plot and visuals.
But …
Without divulging Birthday’s final scene (which I always avoid whenever possible), Mira and Feldman fail to stick the landing here owed entirely to a flawed artistic choice. Treading as lightly as possible, let me suggest that – ahem – no one goes to, say, watch Babe Ruth swing from home plate at the pitch only to get up and leave when the bat successfully cracks loudly, signaling something grand could’ve happened. They sit in their seats, and they watch to see whether or not that ball sailed over the wall and into the stands. That, inevitably, is what everyone can to see. Mira and Feldman stop short – well short – of delivering a home run – an obvious and deliberate choice – turning what story developed into little more than a joke without a punchline.
Sorry, folks, but that’s just no way to treat an audience.
Regarding Mira and his opinion of the finished product, he’s clearly happy with this work in much the same way any parent is with a child. In the extras on the disc, he goes to good lengths discussing the praise he’s received from others in the industry – notably Guillermo del Toro and Jordan Peele – who’ve taken a personal interest in the project and its possible future. While that’s all well and good, nothing replaces the fact that, sadly, the film is still a bit of an oddity at best – one that arguably never found an audience in its previous time and place – and I’m not sure it’ll find stronger prospects in the here and now. With some flicks, ‘cult’ is the best it ever gets; and at some point I hope he can find peace with that alone.
The Birthday (2004) was produced by Arcadia Motion Pictures and Infinity Films S.L. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure the readers that no expense has been spared in giving this one its makeover: the flick both looks and sounds fantastic, and there clearly was a bit of work done in the second half (regarding the audio presentation) that helps to establish the proper mood. Lastly, if you’re looking for special features? This being Arrow, there’s no room for disappointment, and the disc is loaded with a commentary from Mira and Feldman (it’s fun in spots, surprising trim in others), an all-new interview with the director, and some other whatnot associated to a 20th anniversary screening.
Alas … only Mildly Recommended.
Bobbing and weaving somewhere between Horror, Parody, and Farce, 2004’s The Birthday is – yet again – one of those flicks that resonates respectably well with festival audiences, cinema aficionados, and general film nerds but likely struggled – and always will – to gain traction with general audiences. Director Mira clearly delivers what no one can deny is a singular vision; but is this birthday a cause for celebration? Well … perhaps had its excesses been trimmed and its screenplay hammered into something that made cohered better, then it might’ve had a chance at more than the obvious ‘cult’ prospect. What’s sad about that – so far as it matters – is that the oft-overlooked Hollywood outcast Feldman gives a performance that deserved some attention; but too much of it gets lost in curiously long takes, occasionally incoherent plot twists, and Mira’s insistence on keeping everything moving forward in ‘real time.’ An oddity, at best.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray of The Birthday (2004) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“Norman, a young man very much in love with his girlfriend, attends her father's birthday party, held in a hotel where a sect happens to be preparing for the birth of the god it worships.”
The utilization of the real-time storytelling format has never – never – had a better exhibition than it got with Fox Television’s stellar Action/Drama 24. In that award-winning procedural, Counter-Terrorism agent Jack Bauer (played by Kiefer Sutherland) found himself spending the lion’s share of 24 hours battling villains hell bent on bringing America to its knees; and the series even used the ticking clock format to highlight the slowly smoldering currency of time itself being our most precious and most perishable resource. While the show’s subplots didn’t always work as efficiently, the main premise – the race against moments to prevent a massive catastrophe – was almost always the stuff of fabulous entertainment.
Essentially, writer/director Eugenio Mira picked up that framework and straddled it to The Birthday (2004), a hybrid that plucks tropes from a variety of genres but chiefly makes the best use of ones from Horror and Science Fiction. Instead of giving his tale a full twenty-four hours, Mira wraps everything up – well, yes and no – in what could’ve, would’ve, and should’ve been a lean and mean two hours – well, 117 minutes, but you get the point – but the director along with co-screenwriter Mikel Alvariño could’ve used a primer in maintaining the principal plotline efficiently since this Birthday moves much too slowly and invests in inconsequential screen trickery all too often.
Norman Forrester (Corey Feldman) is the ultimate sad sack of the downtrodden schlemiel. While his heart is undeniably in the right place, he can never seem to speak his mind nor convey the proper sentiments freely; and, as such, he’s always found himself a bit pushed around and/or bullied by those around him, including his incessantly self-centered girlfriend, Alison Fulton (Erica Prior). But on the cusp of Alison’s father turning another year older, Norman attends the festivities at the wealthy family’s soon-to-be-closed hotel with the intention of finally breaking through all the noise and asking for the young woman’s hand in marriage. In general screwball Comedy fashion, everything that could go wrong does, and that even includes the attempt of a Lovecraftian-type demon finding a means to open a portal through which it’ll (likely) conquer our world.
Wouldn’t you know it? Why, it’ll be none other than Norman Forrester who’ll stand in its way.
Suffice it to say, The Birthday isn’t exactly all that unpredictable. What works best in here is Feldman’s acting: while such a character rarely if ever is meant to be at the center of a cosmic collapse, that’s entirely why such a satire like this works. Not unlike those lovable nitwits ‘Ted’ Theordore Logan and Bill S. Preston, Esq. (of the Bill & Ted movie franchise fame) saving our collective tomorrow by time traveling to complete what amounts to a book report, The Birthday embraces the good-natured knucklehead who – by hook or by crook – defies the odds and becomes the hero we never knew we needed much less expected him to be. Granted, The Birthday lacks Bill & Ted’s sense of fun; but it’s clearly derived from the same moral stomping ground.
Where Birthday falls apart, however, is it invests far too much time in the minutiae of Norman’s normal existence, made even less admirable owed to the real-time format. Viewers are taken on seemingly endless elevator rides and walks down the Fulton Hotel’s corridors or stairwells where nothing happens; so the picture constantly feels as if it’s starting over with Norman’s arrival in a new spot. Rather than organically flowing together – like the aforementioned 24 did with its labyrinthian plotlines – Birthday chugs and chugs through twists inserted to give our main character something today until the next development arrives. Even his and Alison’s successive banter seems to ignore the fact that – ahem – they’ve been here before; so why (oh why) do we keep arguing the same core issues? Is that all life is for these people? If so, then perhaps they are better off apart as opposed to joined.
Stylistically, Mira definitely gives the audience a great deal to distract them from the lack of a central plot (until the second half). The sets – while colored a bit dour – arguably lend to the aesthetics of a world in need of a facelift – as do the lives of so many characters in this – only hinting here and there at the vivid lushness of a hotel near the peak of its usefulness. Graphically, the director makes great use of some wide-open spaces still feeling increasingly claustrophobic as things go wrong; and he even manages to squeeze in some great turns and pans in sequences where they’re put to thematic use. While nothing diverts attention enough from the fact that there just isn’t enough narrative focus to the protracted set-up (a vastly shorter cut of this could’ve had a better chance with finding an audience), the film nonetheless retains the workmanship quality which suggests – if nothing else – better days could be ahead if Mira finds a balance between plot and visuals.
But …
Without divulging Birthday’s final scene (which I always avoid whenever possible), Mira and Feldman fail to stick the landing here owed entirely to a flawed artistic choice. Treading as lightly as possible, let me suggest that – ahem – no one goes to, say, watch Babe Ruth swing from home plate at the pitch only to get up and leave when the bat successfully cracks loudly, signaling something grand could’ve happened. They sit in their seats, and they watch to see whether or not that ball sailed over the wall and into the stands. That, inevitably, is what everyone can to see. Mira and Feldman stop short – well short – of delivering a home run – an obvious and deliberate choice – turning what story developed into little more than a joke without a punchline.
Sorry, folks, but that’s just no way to treat an audience.
Regarding Mira and his opinion of the finished product, he’s clearly happy with this work in much the same way any parent is with a child. In the extras on the disc, he goes to good lengths discussing the praise he’s received from others in the industry – notably Guillermo del Toro and Jordan Peele – who’ve taken a personal interest in the project and its possible future. While that’s all well and good, nothing replaces the fact that, sadly, the film is still a bit of an oddity at best – one that arguably never found an audience in its previous time and place – and I’m not sure it’ll find stronger prospects in the here and now. With some flicks, ‘cult’ is the best it ever gets; and at some point I hope he can find peace with that alone.
The Birthday (2004) was produced by Arcadia Motion Pictures and Infinity Films S.L. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure the readers that no expense has been spared in giving this one its makeover: the flick both looks and sounds fantastic, and there clearly was a bit of work done in the second half (regarding the audio presentation) that helps to establish the proper mood. Lastly, if you’re looking for special features? This being Arrow, there’s no room for disappointment, and the disc is loaded with a commentary from Mira and Feldman (it’s fun in spots, surprising trim in others), an all-new interview with the director, and some other whatnot associated to a 20th anniversary screening.
Alas … only Mildly Recommended.
Bobbing and weaving somewhere between Horror, Parody, and Farce, 2004’s The Birthday is – yet again – one of those flicks that resonates respectably well with festival audiences, cinema aficionados, and general film nerds but likely struggled – and always will – to gain traction with general audiences. Director Mira clearly delivers what no one can deny is a singular vision; but is this birthday a cause for celebration? Well … perhaps had its excesses been trimmed and its screenplay hammered into something that made cohered better, then it might’ve had a chance at more than the obvious ‘cult’ prospect. What’s sad about that – so far as it matters – is that the oft-overlooked Hollywood outcast Feldman gives a performance that deserved some attention; but too much of it gets lost in curiously long takes, occasionally incoherent plot twists, and Mira’s insistence on keeping everything moving forward in ‘real time.’ An oddity, at best.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray of The Birthday (2004) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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