Barbie

Director: Greta Gerwig
Starring: Margot Robbie, Ryan Gosling, America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, Will Ferrell, Simu Liu, Ariana Greenblatt, Michael Cera, Helen Mirren, Alexandra Shipp, Emma Mackey
Running Time: 114 min.
Rating: PG-13 

★★★ ½ (out of ★★★★)

The toughest challenge facing a film based on Barbie is convincing viewers to set aside their worst preconceived notions, some of which may seem justified. As a concept, there's little reason to believe anyone other than Mattel and Warner Bros. benefits from bringing the most famous doll in contemporary culture to the big screen. And there are countless ways for this to go wrong, making all that trepidation understandable. But co-writer/director Greta Gerwig gets this, incorporating those potential criticisms into the plot and boldly addressing them head on.

The script stays about four or five steps ahead, disarming reluctant audiences by deconstructing the entire Barbie myth and using it to convey bigger ideas about gender, conformity, aging, masculinity, femininity, capitalism, consumerism and social change. And if that reads more like a syllabus than an easily accessible mainstream blockbuster based on a toy line, it's not. This still manages to be ridiculously fun, with a subversive, self-deprecating sense of humor to go along with the surprising performances and ambitiously elaborate comedic sequences. 

Closer to The Truman Show than The Lego Movie, it's obvious from its opening 2001: a Space Odyssey spoof and accompanying Helen Mirren narration that this will be something. We haven't a clue exactly what, though that becomes part of the charm. Immersing us in a universe that visually astounds and serves as the backdrop around which its entire meta fantasy revolves, Gerwig not only conceives a populist film, but a smart one that's worth revisiting to fully appreciate all it has to offer. 

"Stereotypical" Barbie (Margot Robbie) lives in Barbieland, a brightly colored community inhabited by various versions of Barbies and Kens, some current and others discontinued. While Kens spend most of their days at the beach hanging out, Barbies hold prestigious occupations like doctors, scientists, lawyers and politicians, garnering greater respect within society. One particular Ken (Ryan Gosling) exists solely to gain the attention and affections of Barbie, who appears uninterested in taking their relationship to another level. But when Barbie awakens in her Dreamhouse like every other morning, she realizes that something's gone horribly wrong. 

After coming down with inexplicable symptoms such as a sudden fear of death, flat feet and cellulite, Barbie seeks out disfigured outcast Weird Barbie (Kate McKinnon), who reveals the only way to cure this is by traveling to the real world to find the child playing with her. So with Ken in tow, Barbie travels to Venice Beach, California to locate tween girl Sasha (Ariana Greenblatt), whose mom Gloria (America Ferrera) is a Mattel executive. But as Barbie suffers from serious culture shock and the company's bumbling CEO (Will Ferrell) plots to send her back to Barbieland, Ken picks up some damaging real world philosophies that threaten their happy community.

From the start you can tell things aren't what they appear in this seemingly utopian environment, and by the time Barbie hops in her convertible and boat for answers, the gamut of possibilities Gerwig and Noah Baumbach bring to the table start playing out. Accompanying the outrageous scenes of Barbie and Ken's attempts to assimilate into real life are crippling emotional blows to her entire sense of identity and purpose. But at least she has one, which is more than you can say for Ken, who tires of being an appendage and yearns to reinvent himself.   

Barbie realizing she doesn't have legions of female fans lined up to greet and thank her is a harsh wake-up call, but even harsher are the very valid reasons why. Spanning decades as a corporate product that's reflected both Mattel's whims and the values of those who purchased her over generations, she has a complicated history. The landscape's evolved since 1959, with the company often playing catch up, as many legitimate critiques of the toy line end up forming the script's foundation. So does the strained mother-daughter relationship Barbie lands right in the middle of, connecting like the best Toy Story installments do by bottling up nostalgic themes of outgrowing childhood. 

It's fittingly ironic this is what's garnered Margot Robbie her strongest notices and biggest box office when she's made a career cleverly evading inferior parts that could have resembled superficially written versions of Barbie. But this only makes it easier to respect everything she does to humanize a character who's also a knowing commentary on the actress playing it, as Mirren's narrator memorably acknowledges. Such a physical match for Barbie that they actually place the word "stereotypical" in front of her name, Robbie makes this a referendum on the doll's entire existence, shaken out of her complacency and contentment to see the world through real eyes rather than those of a billion dollar corporation.

If Barbie must now account for unfamiliar feelings of embarrassment and humiliation, Ken makes a different kind of discovery about himself that goes beyond pining after her. This epiphany results in the film's funniest montage, as images of horses, American flags and Sly Stallone flash before his eyes, planting the narcissistic seeds for a newfound patriarchal obsession. From there, Gosling's turn only grows more wildly unhinged, reaching its pinnacle with his show stopping "It's Ken" musical number. As a power struggle develops between the sexes, the onus is on Barbie to prevent the only home she knows from backsliding into Don't Worry Darling's retro prison. But it comes with the recognition that their former situation wasn't exactly the picture of equality either.

Nearly everyone else also get their opportunities to shine, managing to convey uniquely distinctive personalities amidst an entertaining assembly line of Kens and Barbies. America Ferrara and Ariana Greenblatt really deliver as the mother/daughter duo with a relatably strained relationship, even as the former is called upon to carry a lot of the script's trickiest material toward the end with a hugely important monologue. 

More recognizable names like Ferrell and McKinnon have rarely been used as purposefully, including a hilariously deadpan Michael Cera who steals every scene he's in as the ostracized and ignored Allan. A great Rhea Perlman plays what's best described as an essential mystery part that cuts to the story's core. It's brief, but she makes the most of every minute, radiating a warmth and sarcastic authenticity that helps sell the film's pivotal moment.

An elaborate musical beach battle squashes any lingering doubts Gerwig can't hold this all together, doing it in just under two hours to boot. And in constructing a Mattel playset come to life, production designer Sarah Greenwood's Barbieland creation is as fun to take in as the characters themselves, ensuring that the purely frivolous fluff everyone assumed this would be can still co-exist alongside biting satire.  

Even when slightly losing its grip as subtext becomes glaringly literal messaging, there's an almost immediate recovery, leading to a final act that skillfully ties all the preceding themes and ideas together. It comes as a relief in a year we've been pummeled by films about popular products, showing just how hard it is to walk that tightrope of not desecrating the brand while placating audiences weary of a feature length commercial. But what's still most mind boggling about the entire phenomenon is that when Gerwig was hired to make Barbie movie, this somehow ended up being her response. 

How to Blow Up a Pipeline

Director: Daniel Goldfaber
Starring: Ariela Barer, Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson, Marcus Scribner, Jake Weary, Irene Bedard
Running Time: 104 min.
Rating: R

★★★ (out of ★★★★)   

Adapted from Andreas Malm's 2021 nonfiction book, the climate change thriller How to Blow Up a Pipeline is nothing if not direct, uncompromisingly taking a clear stance while offering no apologies for its intentions. But however you feel about that or the characters' actions, it's hard not to respect how co-writer/director Daniel Goldhaber fully commits to the premise, showing in painstaking detail the nuts and bolts of a dangerously involved plan. And in daring to ask what exactly constitutes terrorism, it doesn't depict a winnable fight where everyone walks away unscathed. 

Bringing their own separate histories and purposes to the table, the characters are bound by a common goal, forced to put their trust in a group partially comprised of total strangers. Goldfaber picks a side without brushing morally relevant questions under the rug, condensing this timely, controversial issue into a tight procedural that takes some time to gather steam. But once momentum picks up, it tensely builds to a crescendo filled with curveballs and complications. For every problem solved, others unexpectedly pop up, as they race against the clock to pull off the impossible.

Having grown up near pollution generating oil refineries, young environmental activist and Long Beach, California native Xochitl (co-writer Ariela Barer) is grieving the death of her mother during a heatwave. But when friend Theo (Sasha Lane) is diagnosed with terminal cancer, Xochitl abandons her stalled campus divestment campaign in favor of more radical measures. Plotting an ambitious act of eco-terrorism, they recruit Theo's girlfriend Alisha (Jayme Lawson), film student Shawn (Marcus Scribner) and blue-collar Texan Dwayne (Jake Weary), whose family's land is being seized by an oil company enforcing eminent domain. 

Joining those five are Michael (Forrest Goodluck), a Native American explosives expert from North Dakota and young, impulsively lawbreaking couple Rowan (Kristine Froseth) and Logan (Lukas Gage). They converge at a small West Texas cabin, preparing to detonate homemade explosives along a recently constructed pipeline nearby and force an oil company shut down. But even with Dwayne's knowledge of the area and Michael's bomb building expertise, a variety of problems arise, threatening their plan and chances of escaping alive. 

The script takes an unusually sympathetic viewpoint toward characters who proudly view the terrorist label as a badge of honor. They see their actions as a last resort of self-defense against the untouchable refineries, even while it will take a lot of effort and trust for these different personalities to effectively co-exist.

If there's a lead, it's Barer, whose Xochitl not only comes up with the idea of destroying the pipeline, but proves instrumental in gathering this crew to do it. Her desperation is palpable, as is that of Sasha Lane's Theo, with both actresses bringing an unguarded authenticity to their roles, making it painfully personal for them in ways it may not be for the other characters. The exception is Jake Weary's Dwayne, who's driven by a controlled determination to even the score and protect his family.

Cutting between character flashbacks and suspenseful present-day cabin scenes, Goodluck's angry loner Michael demonstrates a scientific prowess matched only by his ability to keep the gang on edge while Jayme Lawson's Alisha gets  more than she bargained for after being dragged into this. Even criminal screwups Rowan and Logan have a more interesting dynamic than anticipated, their wildly unpredictable nature hanging over the operation like a dark cloud. All of them fit certain types yet remain believable as rebellious disruptors who would become embroiled in something like this.

Part paranoid thriller and vintage heist film, Goldfaber shoots the action in a grainy, documentary style, with most of the tension hinging on the uncertainty of everyone being able to cover their tracks and overcome unforeseen logistical challenges. But as nail biting as the actual execution is, it's the aftermath that shakes you, with an inventive closing credit sequence that questions what "getting away with it" actually entails. The phrase carries different meanings and implications for each, even if what binds them is a shared belief that the ends justify the means.

The Little Mermaid (2023)

Director: Rob Marshall
Starring: Halle Bailey, Jonah Hauer-King, Melissa McCarthy, Javier Bardem, Daveed Diggs, Jacob Tremblay, Awkwafina, Noma Dumezweni, Art Malik, Jessica Alexander
Running Time: 135 min.
Rating: PG

★★ (out of ★★★★)

Of all the recent live-action Disney reboots, The Little Mermaid always had the potential for the most to go wrong. Unlike the reimaginings of Cinderella, Dumbo, Beauty and the Beast, The Lion King and Aladdin, much of its story takes place underwater, making a daunting assignment that much more difficult. And whether or not you feel those titles are purely cash grabs, few would argue the weakest aspect in each are the frequently underwhelming CGI effects. 

With a project so dependent on its visuals, director Rob Marshall can't really use the beloved source material for cover like the rest. That's apparent within the first few minutes, as the film's clunky look distracts from the few things it gets right. While every Disney entry will have a rabidly dedicated adult fanbase ready to pounce on any changes made to their childhood favorite, the problem seems bigger this time, since its entirely possible kids will be just as bored.

Ariel (Halle Bailey), a mermaid princess and youngest daughter of merpeople ruler King Triton (Javier Bardem) longs to visit the surface world despite his objections stemming from the murder of Ariel's mother by a human. While Triton enlists trusted advisor Sebastian the crab (Daveed Diggs) to keep an eye on her, his evil sea witch sister Ursula (Melissa McCarthy) has other plans, scheming to exploit her niece and brother's dissension to gain control of Atlantica. 

That opportunity arises when Prince Eric's (Jonah Hauer-King) ship crashes, prompting Ariel to venture above water and bring him to shore, saving his life with her siren singing voice. Desperate to see the prince again but fearful of her father's reaction, Ariel accepts a shady deal from Ursula that gives her the chance for a reunion, even as she must sacrifice her beautiful voice for human legs to finally join the other world she's desperately longed to be a part of. 

Given his big screen musical experience, Marshall wasn't necessarily the wrong choice to helm this and there's more than enough catchy, show-stopping numbers from the animated feature to believe the magic would carry over. Only it doesn't, mostly due to the effects work and art direction in the underwater scenes. To be fair, there aren't many films of any genre that truly capture such a setting, but this attempt is so jarring it's difficult to focus on anything else, as the actors appear supernaturally transposed into sea surroundings that look dark and inauthentic.  

The action does eventually shift above water with the impressive fiery shipwreck sequence, only to head back under for more bickering between Triton and Ariel. Despite a couple of changes that help with character motivations (like a new sibling dynamic between Triton and Ursula), writer David Magee fulfills the plot obligations of Hans Christian Andersen's fairy tale and the '89 version, leaving the rest up to how Marshall translate those elements to live action. 

Supporting creatures Sebastian, Flounder and Scuttle generally retain their personalities from the original, but despite energetic voice work from Diggs, Tremblay and Awkwafina in the roles, only Sebastian gets enough screen time to make an imprint. The character's popular "Under the Sea" is an expected highlight, but even that's shortchanged by the tune's rearrangement and a flurry of cringy visuals.

Halle Bailey radiates Ariel's sincerity and innocence in the title role, boasting a tremendous singing voice when successfully belting out Alan Menken favorites like "Part of Your World" and "For the First Time." Those songs also don't undergo the lyrical revisionism that plagues "Poor Unfortunate Souls" and "Kiss The Girl," as certain lines are replaced with supposedly tamer and less offensive lyrics. While not the outright atrocity some have suggested, it does draw attention to a non-existent issue, which is the last thing Disney needs right now. 

When Ursula's curse renders Ariel mute, it robs Bailey of her biggest weapon for a long stretch and leaves the heavy lifting to a bland Jonah Hauer-King. Even by Disney's interchangeable generic prince standards, Eric hardly registers, as he and Ariel's scenes never ignite the sparks necessary to hammer home her massive sacrifice. 

Thankfully, Melissa McCarthy's comically sinister take on Ursula channels the tone of Pat Carroll's classic vocal performance while Javier Bardem subtly dials into Triton's overprotective motivations. And though her appearance is extremely brief, Jessica Alexander makes a strong impression as Vanessa, Ursula's human alter ego disguise.

Crawling to the finish line at an unnecessary two and a half hours, dissenters up in arms over the casting should have instead directed their ire toward the effects and pacing, not to mention just how little fun this is to sit through. Its second half exceeds the first, but even with the same music, characters and story beats as the animated classic, there's a lifeless feeling to the proceedings. Once we arrive at a key turning point halfway through, it already seems like checkout time, confirming this adaptation is more of a chore than the delight it should be. 

Indiana Jones and the Dial of Destiny

Director: James Mangold
Starring: Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, Antonio Banderas, John Rhys-Davies, Toby Jones, Boyd Holbrook, Ethann Isidore, Shaunette Renée Wilson, Thomas Kretschmann, Olivier Richters, Karen Allen
Running Time: 154 min.
Rating: PG-13

★★★ (out of ★★★★) 

In what should be considered a relief, James Mangold's Indiana Jones and the Dial of Destiny is a mostly satisfying send-off for the iconic character, easily surpassing 2008's widely reviled, underwhelming Kingdom of the Crystal Skull. Though a far cry from the first three films in the series, it has sections that come close to recapturing that nostalgic sense of adventure, with others curiously feeling more like a modern facsimile of classic Indy. But it's a good time, anchored by a story that's surprisingly focused given the concerns going in.

This is bloated at over two and a half hours, but doesn't drag, and whatever 80-year-old Harrison Ford's physical limitations are, they're covered by a plot that accounts for the challenges of his role. Mangold follows the familiar Spielberg template, at least until a denoument certifiably insane enough to inspire more debate and discussion. But unlike Crystal Skull, you can actually envision viewers remembering and even revisiting this, possibly healing some of the wounds inflicted by that previous film.

It's 1944 and the Nazis have captured Indiana Jones (Ford) and Oxford archeologist Basil Shaw (Toby Jones) while attempting to retrieve the Lance of Longinus from a castle in the French Alps. The Lance is fake, but German astrophysicist Jürgen Voller (Mads Mikkelsen) has possession of half the Archimedes' Dial, a mechanism built by Syracusan mathematician Archimedes that supposedly enables time travel. Indy and Basil escape with the Dial, but decades later in 1969, a recently retired Indy is visited by goddaughter and archeologist Helena Shaw (Phoebe Waller-Bridge), who believes he still has the object her late father Basil was obsessed with. 

Upon Indy discovering Helena's motivations for locating the rare piece aren't what he assumed, they're followed by Voller (fronting as NASA engineer "Dr. Schmidt") and the CIA, along with a gang of mercenaries helping him reclaim it to drastically alter history. Joined by Helena and her teen pickpocket sidekick Teddy Kumar (Ethann Isidore), Indy must find directions to the Dial's other half and stop Voller from opening the time fissure before it's too late.

A setting and era this different is something that's never really been explored in the franchise so the character's advanced age does present an opportunity to take advantage of a fresh scenario. And it's downright surreal observing the curmudgeonly professor and archaeologist floundering in 1960's New York City, riding the subway, watching TV and complaining about his neighbors blasting the Beatles. It further reinforces the idea he's stuck out of time, desperately clinging to history as the world passes him by. Never crankier, we eventually discover why, with Ford again expertly slipping into the role while sarcastically poking fun at Indy's seniority.

For all the fuss over the casting a female lead opposite Ford, Waller-Bridge's Helena isn't intended to compensate for the challenges of having Ford carry this on his own. Her backstory and connection to Indy fits the plot, with the actress bringing some screwball comedic timing to the proceedings and handling herself just fine in the action sequences. The least of this film's issues, she proves they made the right casting move in foregoing potentially bigger stars who may not have meshed as well with Ford. And despite some help, he's hardly relegated to the sidelines, nor is the character's attitude or demeanor a drastic departure from what we've embraced for decades. 

Ethann Isadore's kid sidekick is more derivative, clearly meant to invoke Short Round from Temple of Doom, but even his function suitably expands, adding a little extra kick to the narrative's machinations. As villainous Nazi scientist Voller, Mikkelsen creepily makes for one of Indy's more ambitious adversaries, mapping out a grand plan that wouldn't seem out of place in a Bond picture. John Rhys Davies returns in a smaller role as Indy's old pal Sallah while Antonio Banderas has an even tinier one as tactical scuba diver Renaldo. Thankfully, John Williams' legendary score is back as we remember it, with some additional flourishes. 

Mangold's staging and filming of the big action set pieces are highlighted by a horseback chase through NYC during the Apollo 11 parade and another with motorized rickshaws in Tangier. Both are superior to the murky 1944 prologue, which marks the franchise's most elaborate use of digitized technology yet, with a 25 minute sequence depicting a de-aged, deep faked version of Ford's Indy. It's pulled off reasonably well, but is still an odd fit for a property entrenched in retro influences like Saturday morning serials of the 30's and 40's.

You can't help but wonder if the opening is too much of a distraction, almost daring audiences to search for flaws and unintentionally harming what should be a fully immersive experience. And considering how Star Wars fans lose their minds over the briefest use of AI effects, a full half hour is a risky experiment. While trimming the sequence may have helped in covering noticeable shortcomings, it doesn't hurt to admit we might not be ready for this yet, at least to such an extent.

In a franchise with melting faces, extractions of human hearts and aliens the idea of time travel could still be a bridge too far for some fans. The hesitation isn't completely unwarranted since this veers further into the sci-fi realm than we've ever seen in the series, while maintaining the ancient mysticism that's defined other historical artifacts. The only difference here is how far the writers take it, actually following through on what's promised.

Larger questions are addressed regarding what transpired between Crystal Skull and the events of this installment, helping to explain how Indy ends up in this bitter place, latching on to the past like it's his last hope. How it fits into the plot is clever and certain to stir up more debate surrounding the creative choice made in the closing minutes. But it's safe to say common sense prevails, as the alternative would leave a dangling thread when all loose ends need to be tightly tied. An exciting, old fashioned blockbuster, Dial of Destiny goes out on top, upholding the spirit of the franchise while giving us the fitting final chapter we were owed fifteen years earlier.

The Beanie Bubble

Directors: Kristin Gore and Damian Kulash Jr.
Starring: Zach Galifianakis, Elizabeth Banks, Sarah Snook, Geraldine Viswanathan, Tracey Bonner, Carl Clemons-Hopkins, Hari Dhillon, Ajay Friese, Sweta Keswani, Kurt Yaeger, Madison Johnson, Delaney Quinn
Running Time: 110 min.
Rating: R

★★½ (out of ★★★★) 

Having already seen 2023 biopics detailing the creations of massively popular sneakers, video games, smart phones and specialty flavored snack chips, it should come as no surprise we're getting more. The Beanie Bubble could be viewed as the toughest sell of the bunch, even for those who fondly remember the brief Beanie Babies phenomenon of the mid 90's. Anyone not around for this consumer fad would probably still recognize these stuffed animals sitting on thrift store shelves today, unmistakably tagged with Ty Inc.'s ubiquitous heart-shaped logo. But as captivated as directors Kristin Gore and Damian Kulash's are by this, it's cruelly ironic how few are aware the "Ty" on that label refers to an actual person, company founder Ty Warner. 

That Warner himself has been largely forgotten by the public might be the most fitting punishment possible for someone who always craved the spotlight, at least according to this account. Heavily emphasizing his shortfalls as a human being and business leader, the script anchors his story around the women he backstabbed on his way to the top. Flamboyant and eccentric, the billionaire clearly had issues sharing or giving credit, fancying himself solely responsible for every facet of his success. With a script full of tropes that cover familiar territory, the film's straddling of two time periods and three intersecting stories does make for an occasionally fun, if flawed ride.

In tracking the rise and fall of toy manufacturer Ty Warner (Zach Galifianakis) and the women essential to his triumphs, the film starts in 1983, where broke Arkansas native Robbie (Elizabeth Banks) struggles to make ends meet as an auto mechanic while caring for disabled husband Billy (Kurt Yaeger). But her friendship with odd neighbor Ty changes all that, as the two bond over his idea of a new "understuffed" line of animal toys. Robbie joins him in launching their own company, providing valuable insight that helps rapidly expand the business over the next decade. 

Flash forward to 1996 and Ty Inc. becomes a juggernaut, thanks in no small part to his loyal, hard working assistant Maya (Geraldine Viswanathan), who introduces Ty to the internet despite his initial resistance. Around the same time, he starts dating single mom Sheila (Sarah Snook), but as she and her young daughters (Madison Johnson and Delaney Quinn) are drawn in by Ty's happy-go-lucky attitude, they'll soon get glimpses of his insecure, uglier side. Seeking to control everything and everyone, he proves to be less than the sum of his parts, ignorantly marching forward, unaware this giant bubble is about to burst.

For a film lacking a particularly distinctive style, it at least opens with an arresting scene, as a Ty delivery truck crashes, spilling boxes of stuffed animals onto the highway that are frantically snatched up by rabid passerbys. An obvious metaphor for the re-selling boom, the movie not only benefits from moments like those, but the beardless, unrecognizable Galifianakis' entertainingly bizarre turn, which grants Ty a complexity the screenplay rarely explores. It's especially true in the latter half when the character makes an abrupt turn that stems from what's implied to be a troubled, loveless childhood.

Since this frequently jumps back and forth between decades, Ty's transformation from fun loving goof into Elon Musk can't help but seem like an overnight occurrence. There's some background about his mentally ill mother, but given the primary plot revolves around him gaslighting the opposite sex, it's still unclear whether he specifically has problems with strong women, women in general, or maybe just people. Mainly, Ty comes off as a weird guy unhappy with himself, so credit should go to Galifianakis for overcoming the creative obstacles to play him exactly as that. 

Using Zac Bissonnette's 2015 book as their blueprint, the writers deliver one of the broader depictions of a greedy CEO, with Ty deteriorating into full blown parody by the time we reach the final act. From enterprising optimist to someone you wouldn't believe can find the bathroom on his own, he gets a lot of help from the women whose ideas and accomplishments he's more than happy to take credit for. Whether it's "lifting" Robbie up as their professional partnership evolves into an extra-marital affair, or unexpectedly sweeping the skeptical Sheila off her feet, Ty's constantly working some kind of angle. 

The most intriguing dynamic exists with whip smart assistant Maya, who forgoes her education and family's wishes she become a doctor to work for this supposed innovator. Watching her gently steer the clueless, egotistical Ty toward the online marketing possibilities of ebay is a real treat, especially knowing it's a concept he'll never grasp. Viswanathan's levelheaded performance as Maya sells this, her wide-eyed idealism quickly turning to exhaustive despair upon realizing she works for the boss from hell. Banks and Snook also impress, with the latter bringing grounded humanity to a fairly predictable arc. Her Sheila emerges as the more sympathetic of the two, if only because the character's connection with Ty is so personal, making his betrayal sting that much more.

Watchable as it is, this does play like a shallower version of everything Air and BlackBerry did better, glazing over beats and events without really digging into the psychology of its characters. For a while it works, but then just keeps going, to the point that you'd think it was originally conceived as an Apple streaming series. At just under two hours, it feels strangely longer, held together by the performances and a hope there's enough nostalgia left to carry its story over the finish line.