Tech moguls like Mark Zuckerberg and Steve Jobs have been portrayed in serious dramas like The Social Network and Jobs. Yet, BlackBerry's creators Mike Lazaridis, Doug Fregin, and Jim Balsillie's story is interpreted humorously in Matt Johnson's energetic film, BlackBerry.
Unveiling at the SXSW Festival, BlackBerry shares the spotlight with Tetris, another technology-based comedy. It transforms tedious corporate affairs into laughter-inducing moments. Both films rely heavily on the performances of their lead actors.
Set in 1996, Doug (Johnson) and Mike (Jay Baruchel) stumble into a meeting that alters their lives. Despite their offbeat appearances, Doug is always in casual attire and Mike resembles a modest bank clerk. Their idea - a device combining a cellphone and an email - is ingenious.
The Canadian team, despite personality clashes and trust issues, converts this innovative gadget into a new industry sector. BlackBerry traces their humble inception, their peak, and their controversial attempts to stay atop the smartphone world post-iPhone launch.
Through Doug, Mike, and Jim's intertwining stories, Johnson and Matthew Miller's script paints a story of rivalry between foolishness and greed. Doug, a Star Wars fan who enjoys silly office traditions, witnesses Mike's transformation under corporate pressure.
Jim, a cunning corporate climber, lacks tolerance for inefficiency. While Johnson's Mike is endearingly awkward, Howerton, known for It's Always Sunny in Philadelphia, infuses a ruthless comic anger into BlackBerry's corporate milieu. Despite initial resistance, Mike's ethics and loyalties waver under monetary influences, especially visible during the movie's predictable mid-way makeover.
BlackBerry emphasizes the struggle for Mike's conscience more than the phone's history. Johnson, the innocent advisor, and Howerton, the capitalist antagonist, deliver refreshingly different performances for a biopic. However, Baruchel, typically a comedic actor, struggles in the role of a shy introvert, leaving the movie's emotional stakes unsatisfied.
As a director, Johnson's enthusiasm is contagious. Prior to the SXSW premiere, he entertained the audience discussing the edits since the film's debut at the Berlinale. His slightly chaotic approach infuses BlackBerry with a fast-paced plot, dynamic montages, and engaging characters. Notably, Michael Ironside is striking as a corporate intimidator, while Rich Sommer is endearing as a genius yet modest nerd.
Regardless of familiarity with BlackBerry's history, based on the book Losing the Signal by Jacquie McNish and Sean Silcoff, viewers can foresee the ending since tech icons rarely have Hollywood-style happy endings. Johnson nimbly navigates the plot points, pausing occasionally for character development and comeuppance, much appreciated by the tech-literate SXSW audience.
Johnson infuses the movie with nostalgic elements like a soundtrack featuring Joy Division, Moby, and Mark Morrison, pop culture artifacts like Teenage Mutant Ninja Turtles II on VHS, and the satisfying click of keys on a BlackBerry. Despite some uneven moments, BlackBerry successfully extracts humor from this real-life story, concluding in a straightforward yet gratifying manner.
