Weekend Watch: Air, The Super Mario Bros. Movie

Sneaker dealings and game adaptation

Image Credit: Amazon Studios

Welcome to the latest edition of Weekend Watch, in which I recommend (or occasionally warn against) movies or TV shows I’ve been checking out. This week, the campaign to land a future basketball legend and the fight to save a fantasy kingdom. Follow James on Twitter: @jamwhite

Somewhat like last week’s Tetris, Air faces the challenge of telling a story that many people know the ending to. Nike Air Jordan sneakers have existed since the 1980s; we know the company was able to land a deal with Michael Jordan to create and promote them.

And yet, as directed by Ben Affleck based on the script by Alex Convery, this still conveys the sweaty, hail Mary pass manoeuvrings by Sonny Vaccaro (Matt Damon) and others at Nike to secure the chance to sponsor Jordan and build a sneaker brand around him.

The movie starts with possibly the most annoying scene, a fast montage of everything to do with the 1980s as if to shout that this is set in 1984. As if the way Nike boss Phil Knight (Affleck) is dressed doesn’t get that across instantly.

Nike at the time is struggling –– lagging competitors such as Adidas and its footwear sales are flagging, particularly among African Americans, who aren’t into the jogging obsession that Nike’s brand targets.

Vaccaro had been brought in to help spotlight basketball players the company can throw its design and marketing weight around, but he and his colleagues are split over which of the promising rookies should score their support. But when Vaccaro consults with old friend and former player/coach George Raveling (Marlon Wayans), he becomes convinced that Michael Jordan, a clearly talented and much sought-after player is who they should funnel their money into. Sony’s challenge is two-fold: he must both convince Knight (Affleck plays him as a man who blends Buddhist aphorisms and business mantras into a sort of advice smoothie) plus executives Rob Strasser (Jason Bateman) and Howard White (Chris Tucker) to gamble on Jordan and –– an even bigger challenge –– Jordan’s imposing mother, Deloris (Viola Davis).

Deloris knows she has the power in the situation, but she’s never a woman to flaunt that or lord over anyone; she’s simply quietly confident and Davis plays her with all the grace and memorable steel you might expect. Damon likewise relishes the role of the overweight, harried Vaccaro, who understands if this all fails, he’ll be looking for another job and Nike could also collapse.

Affleck directs it all with slick ease, letting the characters drive the film and trusting in his cast. It’s well-placed trust, as everyone here brings their A-game (honourable mention to Chris Messina, who is delightfully sweary as Jordan’s agent, David Falk and to Matthew Maher as Peter Moore, the shoe genius who cracks what the Air Jordans should look like).

An effective and propulsive drama (even if it mostly features people talking in offices and conference rooms broken up by occasional stirring sports footage, Air represents Ben Affleck's best film as a director since Argo.

The decision to keep Michael Jordan off to the side actually works, even if the film stretches the concept a little too far at times. As someone who isn’t a sports fan, I still found it gripping.

Air is in UK and US cinemas now.

Image Credit: Universal Pictures

There are different approaches you can take to an IP-heavy film such as The Super Mario Bros. Movie. One of the best examples in recent memory is The Lego Movie, which spun gold from its commercial source material –– mixing knowing meta gags, goofiness and creative uses of the various characters.

This new effort only shares one thing with that film: Chris Pratt provides a voice. And his Mario is given little to grab onto since the filmmakers have opted to go for style and Nintendo easter eggs over any real semblance of a story. Eagle-eyed players and nostalgic fans will be happy with the many references, but it doesn’t paper over the lack of a driving narrative beyond the most obvious heroic quest, sibling protection and learning for the 757th time, that if the main characters stick together, there’s nothing they can’t do.

The Super Mario Bros. Movie feels more like the latest kid-friendly factory output to roll off the Illumination conveyer belt. A peppy visual style is undercut by a script and story that fail to offer the same level of entertainment. Anya Taylor-Joy and the writers give some spark to Princess Peach, but it’s Jack Black as antagonist Bowser who really comes to life.

It’s sure to please families after some easy entertainment, and it’s already proving to be a box office it (expect a sequel announcement before too long), it’s just a shame that this also feels like a missed opportunity. It wants to be The Lego Movie. It’s more Minions Meets Mario.

The Super Mario Bros. Movie is in US and UK cinemas now.