In keeping with its predecessors, the duo’s latest colors its humor with a strain of wistful regret rooted in their thorny feelings about transitioning into middle age. For this fourth and ostensibly final installment, the bickering couple (Coogan arrogant and condescending Brydon cheery and patient) enjoy fine meals and show off their imitative vocal skills, here highlighted by Coogan doing a pitch-perfect Ray Winstone as King Henry VIII.
Steve Coogan and Rob Brydon follow the path first traversed by Odysseus in The Trip To Greece, once again engaging in the witty banter and dueling celebrity impressions that have become the hallmark of this Michael Winterbottom-stewarded comedy series.
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A nighttime race through Manhattan in an old-school sports car is the material’s comedic high point, and contributes to the warmth and affection that Coppola showers upon her metropolitan setting, here envisioned as a dreamy wonderland full of intrigue, adventure and alternately enervating and enlivening domesticity. Seemingly riffing on Coppola’s own famous dad Francis, Murray is a charming force of nature as an incorrigible lothario at once devoted to his mother-of-two kid and wholly, hilariously consumed with himself, and his performance does much to enliven this breezy saga about Laura’s mid-life crisis. Though the results aren’t as dynamic as their prior collaboration, Coppola’s fizzy romantic drama nonetheless finds its headliner in outstanding form as Felix, the suave ladies-man father to Laura (Rashida Jones), with whom he embarks on an investigation into the possible two-timing proclivities of her husband Dean (Marlon Wayans). Plus, Josh Hamilton and Marchánt Davis are equally good as a pair of disarmingly affable FBI agents.With On the Rocks, Sofia Coppola reunites with her Lost in Translation star Bill Murray for another odyssey involving a young woman and an older man. Sydney Sweeney gives a fantastically subtle performance as Winner. In this condensed peek at Winner, you get a sense of her character, motivations, and how the FBI lulled her into confessing. But in adapting the transcript of Winner’s FBI interrogation, writer-director Tina Satter–who initially brought the story to the stage–has made a film that manages to be gripping and tense while also feeling mundane and true. Aside from her remarkable name, though, Winner’s story didn’t seem obviously cinematic. Winner's sentence was the longest ever imposed in federal court for a leak of government information to the media. In 2018, when it was reported that Reality Winner, a 26 year-old Air Force linguist and intelligence contractor, had been sentenced to five years and three months of prison time for leaking a classified report about Russian interference in the 2016 election, her case was notable. No matter how big these men’s invention gets, they always seem quite small, destined to be munched up by bigger world-changers. Instead, it’s a movie that knocks wild ambition down a peg. Blackberry isn’t a film that valorizes business, nor is it one that sinks its teeth all that deep. But what’s so beautiful about Johnson’s film–in addition to all the dynamic performances and moments of hilarity–is that in spending the final act on the company’s fall, the director shows how ephemeral these sorts of products are. He bluffs, he yells, he whips the ragtag group into shape, and pretty soon their device catches fire. They’re not taken seriously, until a raging, recently fired businessman named Jim Balsillie (a movie-stealing Glenn Howerton) comes on board. A group of nerds, led by Mike Lazaridis (a pitch-perfect Jay Baruchel) and his bombastic best friend Doug (Johnson), has created a device–a phone… that does computing!–that the world isn’t ready for. For as long as I can remember, we’ve been inundated with stories of guys inventing things in garages that will “change the world.” The beginning of Matt Johnson’s Blackberry resembles one of those stories, albeit with a quirkier tone and more jagged texture.
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