How rare is it that a Best Picture Academy Award winner can actually be watched more than once? I give you Crash, The King’s Speech and 12 Years a Slave, to name an intolerable few. Would you willingly sit through one of those again?! This audacious, formal take on the unadulterated insecure narcissistic exhibitionistic actor (is there any other kind…) Riggan Thomson is an exception. His attempt to stage a Raymond Carver play on Broadway to try to recalibrate his career and be more than ‘one of those people awarding each other for cartoons and pornography’ (as hatchet woman theatre critic Lindsay Duncan snarls) is beset with difficulty. He tries to escape his populist reputation as the titular superhero but the grand irony is of course that cinema offers a far more fertile illusion than does the stage of realism trading as fantasy and to paraphrase R. Kelly, you will believe you can fly. Keaton is wonderful in a screenplay that trades on his definitive performance as Batman way back when, and it is a work that is replete with sharp references and allusions, written by director Alejandro G. Inarritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo. This is a far greater film about heroism than those streamlined cookie cutter comic strip types Hollywood is now throwing up at us every time May rolls around: this is a real flight of fancy, proceeding from earthbound and complex emotions and reality to actuated existence, expressed by a roving camera (that of Emmanuel Lubezki) that must have been a nightmare to act around by a game ensemble. Yes, this appealed to the Oscar voters’ vanity, but they got it right. And how fantastic was it to see Keaton mouth the words, ‘F’in A!’ at this years Oscars when his latest movie, Spotlight, also won the top award?! Hell yeah!