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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

    Legendary filmmaker makes tepid return with meandering film Ella McCay

    Alex Bentley
    Dec 12, 2025 | 11:38 am
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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