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    Movie Review

    'BlackBerry' taps into stress and hubris in story about creation of smartphone

    Alex Bentley
    May 11, 2023 | 11:55 am

    The advance of technology in the 21st century can be staggering to think about. Innovative engineers have either created new inventions out of whole cloth or piggy-backed on existing knowledge to bring now-commonplace things like iPhones and streaming television into reality, ideas that were barely a blip on the radar even 20 years ago.

    The new movie BlackBerry chronicles the rise and fall of the company behind the titular device, credited with being the world’s first smartphone. Mike Lazaridis (Jay Baruchel) and Doug (Matt Johnson) lead a ragtag Canadian tech company called Research in Motion, which is trying to get other companies interested in their newest product, a mobile device that combines the abilities of a phone, pager, and e-mail into one.

    Jim Balsillie (Glenn Howerton), a brash and uncompromising marketing executive, sees the potential of the product to disrupt the cell phone market, and bullies his way to leading the company. Mike, Doug, and the rest of the team find themselves hanging on for dear life as Jim makes a series of risky moves that make the BlackBerry ubiquitous in the early 2000s, but also puts the company on a path toward ruin.

    Written and directed by Johnson, with help from co-writer Matthew Miller, the film has an unpolished look to it, as a lot of the imagery is grainy and the camera is constantly bouncing around, something that befits the low-rent feel of the company. The continuous movement also aids the story, as Jim’s tyrannical ways are a source of never-ending stress, especially for Mike, who’s tasked with fulfilling Jim’s often unreasonable demands.

    In a way, the film is agnostic about whether the BlackBerry was a good product. It’s more concerned with how it became so popular, something it attributes mainly to Jim. The aggressiveness and hubris he’s shown to have has a way of convincing people to do things they probably shouldn’t do. He’s a loathsome character who’s also ultra-compelling, not least because of the all-in performance by Howerton.

    Although there have been multiple other similar projects about tech companies like WeCrashed, The Dropout, and Super Pumped, what BlackBerry most strongly resembles is a dramatic version of the HBO comedy Silicon Valley. In each, intelligent-but-naïve engineers do their best to bring a great product to the world, only to be thwarted by egomaniacal leaders whose behavior threatens to bring down the company at all times.

    The power of Howerton, previously best known for starring on It’s Always Sunny in Philadelphia, cannot be understated, as he inhabits the toxicity of his role in every way. Even when he’s not on screen, the memory of his rants colors what the other characters do. Baruchel is slightly miscast, but manages to settle in okay. Johnson often steals the show as Doug, a goofy-but-earnest character.

    The foreknowledge that the release of the iPhone decimated sales of the BlackBerry takes away from the end of the film a bit, but BlackBerry is still an interesting story of how a relatively-small company in Canada came to dominate the tech world for brief period of time.

    ---

    BlackBerry opens in theaters on May 12.

    Jay Baruchel and Matt Johnson BlackBerry

    Photo courtesy of IFC Films

    Jay Baruchel and Matt Johnson BlackBerry.

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    Movie Review

    Film sequel Avatar: Fire and Ash is a technical and visual feast

    Alex Bentley
    Dec 18, 2025 | 3:15 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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