by Heath Lynch, Contributing Writer
We live in an age where smartphones dominate our very existence. These devices are the first things we look at when we wake up, what we stare at while we’re eating, when we’re wasting time at school or work, and when we go to the restroom, and that last thing we see before we go to sleep at night. And while we currently stuff our pockets with Android and iPhone devices, that wasn’t always the case. A little more than 15 years ago, the market was dominated by BlackBerry. In fact, we can thank BlackBerry for the invention of what we now call a smartphone. But how does a company invent such an integral part and function of our society… and then disappear from the face of the earth? Well, the compelling BlackBerry is here to tell you, as it immediately asserts itself as one of the best films of the year.
BlackBerry thrives by embodying two subgenres of film. First, it loves to revel in that Money Bro class of film. You know the ones — the types of movies that r/wallstreetbets would salivate over: Wall Street, Boiler Room, and The Wolf of Wall Street. Hell, there’s a decent amount of The Social Network here. This story carries that insane energy that gives you a peak behind the curtain of a world we’re generally not accustomed to seeing. Secondly, it is also coming out at the summit of product IP films becoming popular. Just this year alone, we’ve already seen Air come out, now we have this, and then later we still have Barbie and Flamin’ Hot yet to be released. Yes, we have a movie about Cheetos. It’s a concept that I would’ve scoffed at years back, but when we already have a movie about basketball shoes and a cell phone, screw it. Why not?
By mixing these genres together, BlackBerry‘s script delivers in a big way. It dips its toes in the Money Bro realm, while not taking the time to stop and smell the roses, or revel in the debauchery. Instead, this film is sour, and it hits you with harsh realities as it confronts the specter of big business, unbridled capitalism, and the lengths people will go to to achieve personal success and wealth. The narrative structure and pacing, alongside the unfiltered dialogue, makes this screenplay crackle. It knocks you back on your ass with its aggressive and kinetic energy that clicks by at a mile-a-minute due to its striking editing, delivered to us by up-and-comer Curt Lobb, who has already impressed with his previous work on The Kid Detective.
A special shoutout must be made to Matt Johnson, who pulls triple duty as one of the screenwriters, one of the prominent supporting actors, and as the director. He clearly had a distinct vision as to how this film should look and feel, and he pulled it off without a hitch. At once, it feels like a documentary with how the narrative facts are presented, and with the way in which the camera is utilized and shots are framed. There’s an amateur voyeurism to this, as if we were a fly on the wall lucky enough to get a view of this corporate rise and fall. But there’s also a sharply focused aspect to how Johnson shapes this, which highlights specific moments and elevates the material. Yes, this feels like a documentary from time to time, but it also feels like an intense cerebral drama, with a decent sprinkling of comedy to boot.
But as impressive as all of these things are, there’s not a damn thing more impressive than the two co-leading performances from Jay Baruchel and Glen Howerton. That’s what really sends this movie into the stratosphere.
Baruchel, traditionally more well known for his quiet and submissive performances like in How to Train Your Dragon or She’s Out of My League, taps into that wavelength, but he also taps into something more. Something a little extra. The transformation and range he displays throughout this movie is perfect. He goes from being a subdued voice in the room that everyone else seems to boss around, to a man whose ego has inflated to the point in which he can intimidate others with his knowledge and his name. There’s a scene early in the movie where Baruchel begins to find his voice as he gives a pitch to Verizon after Howerton has already lost hope — it might just be the best part of the movie, and it’s because of Baruchel that it’s so powerful. What’s even more interesting is how, by the end of the movie, when he’s barking orders at others, you can still tell that he’s doing it as a self-defense mechanism. He’s still the scared, shy man that he was at the beginning of the film, but he’s gained an exterior shell of armor to protect himself from the harm others so often inflict upon him.
Howerton, however, is probably going to be the big talking point from most people coming out of this experience. Frankly, it’s not hard to understand why. If all you know of him is his work on It’s Always Sunny in Philadelphia, then you’re in for a special treat. It’s fascinating that two different Sunny boys had movies come out on the same weekend. If you can only see one, please see this, because Charlie Day’s Fool’s Paradise ain’t it. In this movie, Howerton’s a fireball rolling down the side of a mountain, scorching everything in his path without a care in the world. He lords over everyone throughout this film, as he brashly inserts himself into positions of power by towering over those he feels are inferior to himself, and yelling at anyone who may be his equal or superior until they back down out of fear. The side story about how his character wants to steal an NHL franchise and move them to Hamilton, Ontario so that he can live the dream of owning his own hockey team is fascinating, especially when it reaches its conclusion at the NHL offices. That’s some riveting filmmaking.
As an aside, as a massive hockey fan, I remember when this insufferable rash of a man tried to move the Penguins (and later he tried again with the Predators and Coyotes), and I’m so thankful it never happened. It would’ve been awful.
The supporting performances throughout this movie are solid, and Johnson himself is a fine example of that. But if Baruchel and Howerton hadn’t nailed their roles, this movie is a bust. Thankfully, they complete the routine and land the dismount perfectly. Every single intricate detail works, all of the vocal inflections are great, the facial expressions are on point, and even the chemistry between the two of them is perfect. In my opinion, these are the best performances these two have ever given in any work either of them have ever done.
In the end, BlackBerry serves as a recording of a noteworthy moment in history, a cautionary tale for new business, and a takedown of capitalism and its corrosive nature. It wears its emotion and themes on its sleeves, and it’s all the better for it. This is a bold film with a powerful script, impressive and immerse performances, and solid directing. All together this picture is beyond engaging; it’s enthralling, and easily one of the best films of the year.
Score: 9/10
BlackBerry is currently playing in theaters
You can read more from Heath Lynch, and follow him on Letterboxd