Blackberry

Posted on May 11, 2023 at 3:14 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language throughout
Profanity:	Constant very strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Tense confrontations
Diversity Issues:	None
Date Released to Theaters:	May 12, 2023

We used to get movies about knights, cowboys, soldiers, usually with a lot of highly simplified clarity about the good guys and the bad guys. These were exciting in and of themselves, but they were also origin stories, those foundational, profound, and defining sagas that tell us who we are: the descendants of courageous people who triumphed over evil. many of the best had some depth and complexity. It is not necessary to abandon moral clarity to the point of “both sides-ism,” but to be honest and meaningful the stories should recognize the losses, the compromises, and the consequences of conflict.

Our recent cinematic origin stories look back at our most recent history with heroes in boardrooms, not battlefields. Instead of jousting with lances or dropping bombs from airplanes we have people typing code on keyboards and making presentations in bespoke suits. The hero of the “Tetris” movie is not the man who created the game; it’s the man who sold the game. Michael Jorden, one of the greatest athletes in history, barely makes an appearance in “Air,” the movie that mentions his extraordinary ability but makes as its central characters the men who made the deal to sell his branded sneakers. The upcoming “Flaming’ Hot” is the underdog story of the janitor who came up with the idea of extra-spicy Cheetos. And “Blackberry” is the rise-and-fall cautionary tale of the mismatched pair, the genius engineer and the Harvard-educated business powerhouse who joined forces to create a transformational new technology that ruled the world — until it was overtaken by another transformational technology. “Flamin’ Hot,” coming soon, is the origin story(ish) of a popular spicy snack. Maybe some day they’ll make a movie about the Betamax.

Mike Lazaridis (Jay Bảruchel) and Doug Freigen (played by writer-director Matt Johnson) make an inept pitch to executive Jim Balsillie (“It’s Always Sunny in Philadelphia’s” Glenn Howerton) and he tosses them out. But when he is fired, he remembers something they said. Lazaridis quoted his high school shop teacher: “The person who puts the computer inside the phone will change the world.”

He makes a proposal to the young entrepreneurs — he wants to be the CEO and have 50 percent of the stock. Lazaridis is willing but Freigen is not. They think they’re in good shape because they have a lucrative deal for modems already. But engineers are better with soldering guns than PowerPoint, and they realize they need each other.

There are a lot of vivid, telling details in the film. When we first see Lazaridis, he is so bothered by a hissing sound of a machine in the office of someone he has not even met that he cannot help opening it up to fix it. That moment ties in very well with the movie’s conclusion. When Lazaridis and his team have just one night to produce a sample, they race through a store to pick up the components, including an early children’s Speak and Spell toy (like “ET”), creating a sort of Franken-phone. We see the difference between the engineers’ faith that if they build it everyone will want one and the marketing expert’s understanding that what sells new technology is not the functionality but the prestige, and especially the FOMO.

We know when the engineer and the MBA have a conflict early on: Balsillie says “Perfect is the enemy of good enough” and Lazaridis replies, “Good enough is the enemy of humanity,” we’re going to see that come back at them. And before it happens, we know that Lazaridis, with his hippie friend in the headband and the nerdy engineers who goof off and watch movies on one side and the demands of a suddenly mammoth company with huge technical and operational demands on the other will have to make some painful choices. Some will be the right ones, if the priority is the business over the friendships and the “perfect.” Some will be the wrong ones with the biggest conflict not within Blackberry but between his idea about what people want and Steve Jobs’ idea when he introduces the iPhone — no buttons! open source apps! Coolness (again prestige).

Bảruchel plays a very different character than the slacker-ish but endearing roles we’ve mostly seen before. He does a good job of conveying the prematurely gray Lazaridis in the early years as someone who is passionate about his work but uncomfortable talking to people instead of tinkering with technology, and then showing us the more polished version years later. We do not know all of the turning points where he was forced to compromise on issues he had previously considered non-negotiable, but we can see what those compromises, or, as Balsille says, sacrifices have done to him. And Howerton is on fire as Balsille. We can see in his posture and in every gesture the fury that fuels him.

This is not the kind of movie that is going to give you glimpses into the private lives of the characters. While we get a glimpse of one character’s conflicts when he is trying to buy a different business at the same time he needs to be at a crucial Blackberry meeting, we never find out if they have families. This is a rare movie about top-level achievers without a scene of loved ones complaining that they don’t get enough time. This is a story about business, but it is also very much in the classic mold because it is about passion, innovation, and hubris.

Parents should know that this film has constant very strong language, along with some tense confrontations and breaking the law.

Family discussion: What kinds of sacrifice are necessary for greatness? How did Mike change? What will be the next disruptive technology?

If you like this, try: “The Social Network,” “Steve Jobs,” and “Tetris”

Air

Posted on April 5, 2023 at 5:45 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language throughout
Profanity:	Very strong language
Alcohol/ Drugs:	Some alcohol
Violence/ Scariness:	None
Diversity Issues:	A theme of the movie
Date Released to Theaters:	April 7, 2023

A good movie will capture our attention even when we know, because it is a true story, how it turned out. How it happened can be an engrossing story itself, especially if it was a shift with consequences so pervasive we can hardly remember when things were different. Today, dozens of celebrities, even the biggest box-office actors and platinum-selling singers, make more money from their lines of cosmetics, fragrances, clothing and shoes, housewares, books, phone plans, liquor, and perhaps, someday, steel-belted radial tires and vacation time shares. But it began when a man named Sonny Vacarro, working for Nike, made a deal with an athlete who had not yet played his first professional basketball game. His name is Michael Jordan.

Matt Damon plays Sonny, with director Ben Affleck as Nike founder Phil Knight. As the movie begins, In 1984, Nike was known as a running shoe company. Converse and Adidas had most of the market for basketball shoes. Nike, with only 17 percent, was considering giving up entirely. Vacarro, whose life could easily fill a few more movies, wants to change the division’s approach, a poor (in both senses of the word) imitation of the vastly more successful competition. They would pay the top athletes a set fee to appear on posters and ads, representing the brand. Sonny and his colleagues discussed the lower-tier athletes they might be able to afford but no one thought that pursuing the same failed strategy would produce a better result. They just did not know what else to try, and the old system might not work, but it was safe.

Nike was an upstart company, and, as Sonny reminded Phil Knight, before they were a public company, with all of the bureaucracy and high profile disclosures that requires, they were the opposite of safe. The film cleverly uses the company’s real-life principles as commentary or chapter headings. “Our business is change” is number one.

Sonny decides that instead of hedging their bets by picking three basketball players and hoping one of them would excel, they should spend their entire budget on Michael Jordan a #3 draft pick rookie who has not yet set foot on a professional court. He has to persuade his colleagues (Chris Tucker and Jason Bateman, both excellent as always). He has to persuade Knight. He has to persuade Jordan’s ultra-alpha agent, David Falk (Chris Messina, nailing it like the real-life Jordan buzzer-beater). And when Falk refuses to give Sonny a meeting, Sonny has to persuade Jordan’s parents, more specifically, Jordan’s mother Deloris.

She is played by the magnificent Viola Davis because that was real-life Jordan’s one request for the film. And she is on fire. A scene near the end has a phone conversation between Deloris and Sonny that will be in the highlight reels for both stars forever.

Affleck is a fine actor and a better-than-fine director. As an actor since childhood, his skill at selecting the right actors and allowing them to do their best is to be expected. He also has an exceptional sense of narrative structure. The script from first-time screenwriter Alex Avery was chosen as Best Unproduced/Blacklist Screenplay of 2021. He gets sole credit, but Affleck and Damon, Oscar-winning screenwriters in their 20s for “Good Will Hunting,” worked with him on the final version. It is the way the story is shaped that allows each of the characters to make a contribution and keeps us somehow wondering how it will come together.

There is also a deeper meaning, a medium is the message connection. It is the first film from a new company formed by Damon and Affleck that hopes to do for the people who work on films what Sonny did for Michael Jordan, recognizing the contributions of below-the-line crew like cinematographers, designers, and sound technicians with a chance to share in the profits of the work they help to create. Let’s hope they all do as well as Jordan, who, according to the film’s ending updates, makes $400 million a year from the Nike products bearing his name.

Parents should know that this film has constant strong “locker-room” language

Family discussion: What made Nike different from its competitors? Which of the Nike principles do you think are most important? Would you buy something just because it had the name of a celebrity on it?

If you like this, try: “Sole Man,” the ESPN 30 for 30 documentary about Sonny Vacaarro and some of the interviews with Vacarro on YouTube, especially the ones concerning his reversal from creating marketing programs that exploited amateur athletes to leading the Supreme Court challenge that recognized their right to be paid for the use of their images and names

The Fabelmans

Posted on November 20, 2022 at 3:16 pm

A-

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for thematic elements, brief violence, some strong language, and drug use
Alcohol/ Drugs:	alcohol, marijuana
Violence/ Scariness:	Bullies
Diversity Issues:	A theme of the movie
Date Released to Theaters:	November 23, 2022

A small boy is about to see his first movie, and it is 1952, so it is in a big, dark theater, on a big, bright screen. His engineer father is explaining persistence of vision, the optical/neurological factors that make us think that still pictures shown to us 22 times a second are moving. “The photographs pass faster than your brain can keep up.” His artist/musician mother has a different description of what movies are: “They’re like dreams that we never forget.” And of course, both are right.

That boy will be dazzled by the movie, which would go on to win the Oscar for best picture in 1952, “The Greatest Show on Earth,” an exciting story of a circus. The train crash sequence was so big and so real that he could not get it out of his mind for days and days. He asks his parents for a train set for Hanukkah, and as he opened up a new train car each night he imagined re-creating — understanding — controlling — that crash. His father (Paul Dano as Burt) chides him for breaking the train. His mother (Michelle Williams as Mitzi) suggests that he take the family’s home movie camera and film one last crash, so he can watch it as many times as he likes.

As the title suggests, “The Fabelmans” has a touch of myth, of movie magic, as Mrs. Fabelman would say, a dream. But it is also as Mr. Fabelman would approve, grounded in facts and mechanical reality. Steven Spielberg co-wrote the film with Tony Kushner, based on his own life as a child and a teenager. It brims with love for his family, with the kind of understanding that it takes decades to achieve, if ever. And it is told with the true mastery of a brilliant filmmaker equally grounded in the mechanics of movies and the creation of big, engrossing dreams for us to watch together in the dark.

No one understands cinematic storytelling better than Spielberg, and seeing him tell his own story using the very techniques this film gives us a chance to see as they develop makes this one of the best films of the year and one of the best films ever from a master storyteller. Cinematography by Janusz Kaminski and music by Spielberg’s longtime favorite John Williams gorgeously evoke the past without making it seem musty or distant. Watching it feels like a gift.

As the movie begins, money is tight and Burt has to supplement his salary by fixing televisions. But his gift in designing the fundamentals that would lead to personal computers leads to a new job offer in Phoenix. The Fabelmans move, and Burt brings along his best friend Bennie (Seth Rogen), so beloved by everyone that he feels like family. Burt is a loving husband and father but very serious and methodical. Bennie is fun, always making everyone laugh.

Sammy keeps making movies, casting his younger sisters and later his Boy Scout troop in remarkably ambitious and creative films (you can see the real ones, meticulously re-created here, on YouTube). As a teenager, now sensitively played by Gabriel LaBelle, his movies get more complex. In one lovely moment, a hole punched in sheet music by a high heeled shoe inspires a brilliant and very analog special effect only the son of both an artist and an engineer could concoct.

Form and content follow each other and intertwine, especially with a sensational final shot, as Sammy/Steve begins to understand the potential and the power of story-telling. When his mother is sad, his father asks him to make a movie to cheer her up. When he is editing one of his family films, he sees on celluloid what he missed when he was standing there. When he cannot tell his mother why he is upset, shows her a film to explain. In an agonizing moment, he cradles the camera like a teddy bear. Through chance, he is able to use a professional camera and through a combination of determination and chance he meets and gets some surprising advice from one of the all-time movie greats.

He is confronted with the challenges of family conflict and adolescence. He is bullied for being Jewish. He wants to kiss a girl. He feels betrayed by two people he loves. An uncle in show business (a terrific brief role for Judd Hirsch) tells him that he will always be torn between love and art — and that he will choose art.

Williams and Dano are superb as the Fabelmans. As Mitzi watches the movie Sammy made for her and as she tries to explain a difficult decision to Sammy we see clearly the range of emotions she is feeling, including the perpetual struggle of all parents between her needs and the wishes of her children. Spielberg and Kushner bring compassion to these characters that they themselves struggle to find.

They also convey the exceptional ability to observe and analyze that is the great gift of any artist, to be cherished and nourished by imagination, but that must be reined in to allow for personal connection. Only the rarest of talents can bring both to their work and that is what makes this film a joy.

NOTE: My daughter worked on some of the costumes of this film which are, of course, outstanding under the direction of Oscar-winner Mark Bridges.

Parents should know that this film includes family tensions, adultery, and divorce, some strong language, alcohol and marijuana.

Family discussion: Why could Sammy see things more clearly through the camera than he could without it? Why was Logan upset by the Ditch Day movie? How did each of his parents influence Sammy?

If you like this, try: “Belfast” and Spielberg movies like “E.T. the Extraterrestrial” and “Close Encounters of the Third Kind”

Till

Posted on October 13, 2022 at 5:18 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for thematic content involving racism, strong disturbing images and racial slurs
Profanity:	Racist epithets
Date Released to Theaters:	October 28, 2022
Date Released to DVD:	January 16, 2023

In March of 2022, President Joe Biden signed the Emmett Till Antilynching Act, making lynching a federal hate crime. It only took 67 years.

It was in 1955 that a 14-year-old Black boy from Chicago named Emmett Till was murdered in Mississippi for allegedly whistling at a white woman. “Till” is his story, but it is more importantly the story of his mother, who responded to the greatest pain a parent can experience with determination to save other families from that kind of tragedy. I will give her the respect denied her by the white people of Mississippi and refer to Till’s mother, later known as Mamie Till-Mobley, as she was by the Black people who honored her during this period, Mrs. Bradley. She is played with infinite grace and dignity by Danielle Deadwyler in a performance that is one of the most thrilling of the year.

Emmett (Jalyn Hall) was a happy, friendly, high-spirited boy who was devoted to his single mother and thought the world was a safe place. We first see him with his mother at Chicago’s famous department store, Marshall Field’s, politely responding to a clerk who suggests that she shop in the basement, clearly a racist response. Mrs. Bradley tries to warn Emmett that things are different in the Jim Crow South, that he must be careful, ultra-respectful, and, if called upon, get down on his knees and beg forgiveness for any suspected slight. But Emmett is young and a bit of a show-off. His casual demeanor and his speaking to the 21-year-old white woman at the cash register was considered an insult. And so, Her husband and his friend banged on the door of Till’s relatives, took him from their home at gunpoint, and murdered him.

Mississippi wanted to bury him there, along with the story. But with the intervention of the NAACP, his body was returned to Chicago, so abused and mutilated that it was barely recognizable as human. The mortician urged her not to look and to close the casket at the funeral because, he says carefully, “He’s not in the right shape” to be seen. But Mrs. Bradley insisted that he must be seen, that what happened to him must be understood. The moments of her communion with her son’s body, the faces of those viewing him at the funeral, and Deadwyler’s description in court testimony of how she was able to identify him as her son are galvanizing. “He is in just the right shape. The world is going to see what they did to my boy,” she says. That legacy continues with this important, impactful film.

Parents should know that this movie is the true story of a brutal hate crime. The murder is sensitively handled, but we do see, as Mrs. Bradley would have wanted, his body and the reactions of the people who viewed the open casket. Characters smoke, drink and use racist language, including the n-word.

Family discussion: How does the experience of Emmett Till relate to the issues raised by Black Lives Matter today? What do we learn from her conversation with Preacher? Why did Mrs. Bradley’s decision to speak out make a difference?

If you like this, try: “The Murder of Emmett Till” from the PBS series “American Experience,” the “Eyes on the Prize” series, “For Us the Living,” about Medgar Evers, and “Ghosts of Mississippi,” about the lawyers who finally brought his murderers to justice. You can read about the 2022 decision not to charge the woman who wrongly accused Emmett Till here and contribute to the Emmett Till Legacy Foundation here.

Thirteen Lives

Posted on August 4, 2022 at 5:17 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for some strong language and unsettling images
Profanity:	Some strong language
Alcohol/ Drugs:	None
Violence/ Scariness:	Extended peril and tense rescue operations, characters injured and killed
Diversity Issues:	Race and economic/nationality status issues
Date Released to Theaters:	August 5, 2022

Twelve young boys. One coach. Seventeen days trapped. More than 5000 rescue workers from many countries. The eyes of the world were on Thailand’s Tham Luang cave in June and July of 2018 as a soccer team exploring a cave they knew well were trapped by a sudden early monsoon that flooded it before they could get out. One more number: two and a half miles. That is how far they were from the entrance, and for almost two weeks the cave was so impenetrable that no one knew if any of them were still alive.

“Rescue” is a fine documentary about the courage and dedication of the rescuers, especially the British and Australian volunteer race rescue divers who came up with an idea so dangerous and crazy it could only become an option when every other possibility was out of the question. Ron Howard’s feature film has excellent performances from Colin Farrell, Viggo Mortensen, and Joel Edgerton as the divers and skillful use of the camera to put us inside the narrow, claustrophobic passages of the cave with no visibility and terrifyingly swift currents. Like his best film which also plays into triskaidekaphobian fears, “Apollo 13,” this is a tick-tock tension movie, with smart people trying to solve dire, unprecedented problems under excruciating time pressure.

It is June 2018. The boys are playing soccer and talking about a SpongeBob birthday cake at an upcoming party. They ride their bicycles to the cave, with the “Sleeping Princess” shrine at the entrance. There should be plenty of time before monsoon season closes the cave until the fall. But there is not. A drenching rainstorm cuts off the exit and slowly, as the parents come looking for the boys, it is clear they are trapped inside.

The Thai Navy SEALS arrive, well-trained and courageous. But rescuing people from an ocean is very different from the highly specialized rescues of the volunteer cave divers. It turns out there is a small, dedicated, endlessly skillful and endlessly courageous group of people who are cave diving rescuers, including Rick Stanton (Viggo Mortensen), John Volanthen (Colin Farrell), and joining later, Richard “Harry” Harris (Joel Edgerton).

Given how much of the story is under murky water in a dark cavern filled with sharp points and tiny, twisty passages, Howard does a very good job of keeping us on top what is going on, how much time has passed, and how far we are from the tiny, precarious shelf where the boys and their coach are perched. For those who are not familiar with the details (though likely everyone is aware of the miraculous outcome) there are some dramatic twists and surprises to accompany the understated but immensely powerful story of the rescue divers. Americans will enjoy the classically British understatement that only underscores the breathtaking heroics of the story and the modesty and gratitude of the boys, the coach, and their families. The unquenchable hope, the remarkable resilience, and the cooperation of all involved, including the farmers who agreed to have their year’s crops wiped out so that water could be diverted from the cave are a story of uplift and the best that humanity has to offer.

Parents should know that this is a tense depiction of a dire real-life rescue involving children with some very high-risk choices. Characters are injured and killed and there is some strong language.

Family discussion: How did the group make the decision to take such a high-risk option? What were the biggest obstacles to the rescue other than the physical challenge of the water in the cave? What circumstances would make you fly halfway around the world to help people you’ve never met?

If you like this, try: the National Geographic documentary “The Rescue” and Ron Howard’s “Apollo 13”