SYNOPSIS: In the animated family comedy adventure “In Your Dreams,” now streaming on Netflix, siblings Stevie and Elliot must navigate their dreams—and a snarky stuffed giraffe, zombie pamcakes and the queen of nightmares—in hopes that The Sandman will grant them their ultimate dream, saving their parent’s marriage.
CAST: Craig Robinson, Simu Liu, Cristin Milioti, Jolie Hoang-Rappaport, Elias Janssen, Gia Carides, Omid Djalili, and SungWon Cho. Co-directed by Alex Woo, and Erik Benson.
REVIEW: A story of a fractured family wrapped up as a surreal adventure delivers some kid friendly thrills, but at its heart is a grounded story of acceptance and the understanding that not every family has to be perfect.
When perfectionist Stevie (Jolie Hoang-Rappaport) learns that her mother (Cristin Miloti) is considering taking a job in another city, she assumes it means her parents are getting a divorce. In hopes of keeping them together she drags her rambunctious younger brother Elliot (Elias Janssen) into her dreams in the hopes of being granted a marriage saving wish from The Sandman (Omid Djalili).
In the dream they are thrust into a surreal world where they meet a disco-ball moon with trust issues, a glibly sarcastic stuffed giraffes and zombie pancakes who guard The Sandman’s filing system. If they are to get to the all-important Wish Desk they must learn to work together to solve their problems.
In its heart “In Your Dreams” is a kindhearted movie about reality, not dreamland. The dream sequences, from co-directors Alex Woo, and Erik Benson, are beautiful, populated with imaginative characters kids should enjoy, but Stevie and Elliot‘s journey is a personal one, not strictly an otherworld one.
The messages of accepting imperfection, teamwork and resilience are mixed with eye popping visuals and fun needle drops. It may be a little too intense in its representation of the nightmare scenes and the frankness of its depiction of divorce for the under 7 set, but it contains the kind of heart and soul usually associated with Pixar, which is enough to earn a recommend.
It’s hard to remember now, but there was a time when we were not tethered to our smart phones. A new film, “BlackBerry,” starring Jay Baruchel and Matt Johnson, and now playing in theatres, vividly recreates the scrappy story of friendship, betrayal and hubris that began our obsession with our phones.
Baruchel and Johnson play Mike Lazaridis and Doug Fregin, founders of small tech company Research in Motion. When we first meet them it’s 1996 and they are about to pitch a new kind of pager to hotheaded executive Jim Balsillie (Glenn Howerton). He’s the kind of Art of War-style boss who snaps at an assistant who reaches for a bottle of water. “Thirst is a display of weakness.”
Too busy trying to backstab his way to the top of the corporate ladder to give the tech nerds his attention, he dismisses the awkward pitch before they even get to the end. But when his latest grab at a promotion gets him fired from his cushy corporate job, he reaches out to RIM with an offer.
Under his aggressive leadership, coupled with Lazaridis’s uncompromising search for perfection and Fregin’s clever engineering and heart, the Waterloo, Ontario storefront start-up soon debuts “the world’s largest pager.” Or is it “the world’s smallest email terminal?” Either way, it is a handheld game changer that combines a phone with the capabilities of a computer.
The odd little phone, with a QWERTY keyboard, encrypted messaging and low data cost, becomes a status symbol, used by some of the world’ most powerful people. In the hands of everyone from President Barack Obama and Justin Timberlake to Katy Perry and Vogue Editor-in-Chief Anna Wintour, the phones helped the world communicate in a whole new way.
The halcyon days of BlackBerry lasted a few years until shady business dealings, ambition and lack of vision relegated RIM’s products to the scrap heap; the “phone people had before they bought an iPhone.”
“BlackBerry” isn’t just a business story or the story of innovation. Instead, it is an underdog tale that emphasizes the human foibles that led to RIM’s downfall, not just the financial ones.
Baruchel and Howerton, as the characters who provide the story’s yin and yang, hand in strong performances.
Baruchel, topped with a shock of white hair, goes deep to play Lazaridis as a socially awkward man with a rich inner life, a perfectionist who can’t help himself from fixing a buzz on the office intercom in Balsillie’s office on the day of their big pitch.
As Balsillie, Howerton is all bluster, a thin-skinned man who covers his weaknesses with a thick veneer of bellicosity. From attempting to buy a hockey team after a rival slights the game to his wanton manipulation of RIM to suit his own ambitions, he is simultaneously the best and worst thing that ever happened to Lazaridis and Fregin.
As director and writer (as well as co-star), Johnson concentrates on the human side of the story, amping up the anxiety with a terrific sense of pacing and claustrophobic close-ups of his cast as their lives and business unwind.
“BlackBerry” is an interesting slice of recent history, made all the more interesting by the study of hubris that makes this tech story so human.
