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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

    Great acting and directing drive The Christophers to artistic heights

    Alex Bentley
    Apr 17, 2026 | 1:59 pm
    Michaela Coel and Ian McKellen in The Christophers
    Photo by Claudette Barius
    Michaela Coel and Ian McKellen in The Christophers.

    Director Steven Soderbergh is one of those filmmakers who — aside from the Ocean’s series — never seems to make the same kind of movie twice. He is somehow able to adapt his abilities to all sorts of different stories, making each of them as compelling as any other. His latest masterclass is in the London-set film, The Christophers.

    Lori Butler (Michaela Coel), who restores art for a living, is approached by brother and sister Sallie and Barnaby Sklar (Jessica Gunning and James Corden) with a scheme. They want her to become the new assistant for their aging father, Julian (Ian McKellen), a famous artist known for a series called “The Christophers,” in order to gain access to unfinished paintings from the series and complete them herself.

    Lori accepts the deal despite having some uneasy feelings about Julian, with whom she had a bad interaction years ago. Julian is just as wary, both because he knows of his children’s interest in the unfinished works, and because he would prefer to be left in peace. Although the trepidation on both sides continues for the bulk of the story, a grudging respect arises between two artists who know skill when they see it.

    Directed by Soderbergh and written by Ed Solomon, who last collaborated on No Sudden Move, the film is astonishing in its ability to be compelling with such a small story. Much of the film is spent inside Julian’s multi-story home as Julian and Lori have low-level confrontations about a variety of things, including the meaning of his art, her abilities, the fate of the remaining “Christophers,” and more. Each conversation brings out more detail about their worldviews and their thoughts about their lot in life.

    Much of the success of the film lies in the performances of McKellen and Coel. The 86-year-old McKellen has not lost his ability to astonish with the spoken word, and the monologues he delivers are engrossing even when they’re about mundane things. Coel, best known for the 2020 HBO show I May Destroy You, is a great foil for McKellen, never backing down from his challenges and giving her own unique takes on her lines.

    While the film can be enjoyable for non-art lovers, those who appreciate the vagaries of the art world will have a lot to chew on. Soderbergh and Solomon debate a lot of aspects of art, including whether it’s possible to separate the art from the person making it, why some art is valued more than others, the ethics of forgery, and more. Because the film is about a fictional artist, it gives the filmmakers a bit more freedom in their criticisms.

    Aside from McKellen and Coel, Gunning (Baby Reindeer) and Corden are the only other two people who get significant screen time in the film. Both of them are, let’s say, acquired tastes, and each gives an elevated performance that matches the energy of their respective characters. Tilly Botsford makes a nice impression in a small role as Julian’s masseuse.

    Soderbergh’s last three films — Presence, Black Bag, and now The Christophers — have nothing in common other than the expert filmmaker helming all of them. When you can make a ghost story, a spy film, and a small film about artists equally interesting, you know you’re doing something right.

    ---

    The Christophers is now playing in theaters.

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