What I’m watching: ‘Air’ soars, game over for ‘Mario Bros.’ Date: 4/17/2023 New to theaters: “The Super Mario Bros. Movie”
Mario, Luigi and their colorful cartoon counterparts return to the silver screen in “The Super Mario Bros. Movie.”
Practically everyone can reference some recollection of who Mario is. His vast legacy has spawned endless sequels and spin-offs across four decades while serving as the flagship figure for Nintendo’s dominating run in the video game industry. Whether through dusting off archaic N64 cartridges or immersing in the latest Nintendo Switch technology, I am sure most readers either played some iteration of Mario games or at least know someone who is a devout fan of the character.
As an avid gamer myself, I cannot deny the brand’s alluring appeal. The Mario universe features a robust library of titles defined by smooth platforming controls and sparks of imagination. Mario himself is a relatively humble character with his bulky figure and patented plumber uniform, yet his rustic charms always serve as a personable guide for awe-inspiring adventures.
That said, translating a classic video game character to the big screen is not the easiest assignment. While I can cite a few surprisingly decent video game movies — “Sonic the Hedgehog,” “Rampage” and “Monster Hunter” come to mind — most are floundering cash grabs that boast little understanding of their source material. Even Mario himself is a victim of this trend, with his cinematic debut in the 1993 “Super Mario Bros.” film likely still conjuring nightmares for his dedicated fanbase.
“The Super Mario Bros. Movie” aspires to course-correct its predecessor’s failures by adhering closely to the brand’s well-established lore. Instead, the film delivers a cynically manufactured outing that is self-satisfied in its lazy pandering to fans.
I struggle to call “Super Mario Bros.” an actual movie. In the hands of animation studio Illumination, the creators of the “Despicable Me” franchise, Mario and his pals find themselves stranded in a never-ending commercial sifting through “remember this from the video game?” moments.
The script is as paper-thin as it gets. I credit screenwriter Matthew Fogel for showcasing some understanding of the Mario universe, packing his narrative to the brim with clever Easter eggs and well-known iconography. Unfortunately, Fogel’s efforts rest solely on these homages. References should be a light appetizer to the story, not the whole narrative entree. The bombardment of zany jokes and noisy set pieces serves as an unsuccessful distraction that fails to mask the napkin sketch of a movie.
In terms of narrative, there is no foundation to be found across the film’s breathless 93-minute runtime. Fogel’s work relies exclusively upon the viewer’s pre-established attachment to draw interest, whether its half-hearted attempts to showcase Mario and Luigi’s brotherly rapport or an effort to incorporate classic side characters, like Princess Peach, Donkey Kong, Bowser and Toad. This approach leaves the ensemble feeling like an impersonal imitation of their pixelated counterparts.
The lack of effort is also felt in the voice-over performances. Some actors, like Jack Black as villainous Bowser and Charlie Day as high-strung Luigi, impart enough exuberance to bring their storied characters to life. Other actors lack commitment. Seth Rogen, Anya Taylor Joy and Chris Pratt deliver unenthused performances that do not play into animation’s heightened emotionality. Pratt is especially forgettable as Mario, showcasing an inconsistent accent that never truly sells the character’s persona.
I can already hear some readers saying, “Matt, it’s just a kids’ film.” I do not deny that distinction, but I would argue it is a cheap way to make excuses for an uninspired effort. Last year alone saw the release of several family films, like “The Bad Guys,” “Puss in Boots: The Last Wish,” “Turning Red” and “Chip ’n Dale: Rescue Rangers,” that elevated their straightforward stories through their ingenious creative visions. In contrast, “The Super Mario Bros. Movie” makes no effort to achieve above the standards of a factory-assembled product. Even the animation, which does a decent job capturing the Mario universe and its likeness, lacks the inventive flourishes of its superior animated counterparts.
I would not call “The Super Mario Bros. Movie” a horrendous film — it’s just a profoundly uninspired one. The competent animation, ample references and sheer busyness on display could provide a decent distraction for some fans. Still, I doubt anyone will remember the movie long after the credits roll.
Also new to theaters: “Air”
Basketball scout Sonny Vaccaro receives the improbable task of reviving Nike’s dormant basketball shoe line against the stout competition of Adidas and Converse. With limited resources at their disposal, Sonny and Nike risk it all by pursuing college superstar Michael Jordan as their lone client in the sports biopic “Air.”
You do not have to be a basketball fan to recognize Michael Jordan as the greatest basketball player of all time (sorry LeBron). Across an illustrious career personified by countless champions and his unwavering conviction, Jordan became a legendary symbol of excellence. His unparalleled stardom worldwide dominated the zeitgeist as he helped catapult the NBA toward new pinnacles of popularity.
Rather than focusing on Jordan’s well-known legacy, “Air” zeroes in on an overlooked stepping stone in his milestone journey — the development of his marquee Air Jordan shoe brand. I was undoubtedly excited as a major hoops fan for the latest project from actor/director Ben Affleck, but part of me was curious to see how the film could translate to a massive audience of non-NBA nerds.
Fortunately, “Air’s” perceptive court vision realizes the grander significance of its slice of history. Affleck and his star-studded cast form a championship team in an enthralling and deceptively nuanced crowd-pleaser that will leave sports aficionados and newcomers cheering for more.
“Air” feels like a film crafted in a bygone era in all the best ways. There is no blockbuster spectacle or phony gimmicks that work desperately to attract audiences’ attention. Instead, the film radiates poised self-confidence, trusting its material and the talent involved enough to carry the heavy lifting.
Credit to Affleck for assembling a glamorous all-star ensemble of actors. Matt Damon imbues his trademark swagger into Sonny Vaccaro, personifying the sports figure’s uncompromising vision as he risks it all for greatness. Viola Davis remains a dramatic force of nature in the scene-stealing role as Deloris Jordan. Her commanding presence represents the critical maternal voice steering her son toward a prosperous future. Respected talents like Chris Tucker, Jason Bateman, Chris Messina and Affleck himself also provided a dynamic comedic spark as talking heads working behind the scenes in Jordan’s recruitment process. It is a joy to watch a film that lets its actors play to their strengths. Everyone involved forms an infectious onscreen camaraderie that helps drive the narrative forward.
I can see how readers could construe “Air” as a stuffy piece of sports lore at first glance. However, that could not be further from the truth. Alex Convery’s screenplay and a plethora of improvised moments discover the humor within the narrative’s tale of corporate courtship. I’ve seen some denounce “Air” as a piece of corporate propaganda that only exists to commemorate Nike’s rise to power. In reality, a significant source of its biting barbs and amusing reflections poke fun at the cynical business entities blinded by profit margins over any grander creative vision. The sharp comedic streak combines brilliantly with the film’s actual focus – showcasing a spirited celebration of the unheralded dreamers working behind the scenes to help create an indelible piece of cultural lore.
Affleck’s thoughtful direction also elevates the impact of these voices. Affleck is one of the best examples of an actor transitioning to behind-the-camera work, as he boasts an innate understanding for what artful choices can enhance a narrative. With “Air,” Affleck plays into the larger-than-life mythos of Michael Jordan without straining the film with heavy-handed devices.
Jordan is rarely displayed onscreen, but his presence looms large over the narrative like an otherworldly figure. Affleck brilliantly captures the burden of responsibility resting on the shoulders of the Nike creative team by instilling a sense of epic grandiosity. Scenes of Sonny and Nike workers collaborating on the shoe line are played with magnitude akin to a King Arthur and his Knights of the Roundtable quest, while the infusion of classic ’80s ballads rings as battle songs cheering on the character’s ambitious pursuits. Affleck’s ability to award these characters and their work with importance onscreen provides an enthralling entryway into what could be dull subject matter in lesser hands.
Additionally, framing “Air” as an underdog story is an intentional and profoundly reflexive choice. As the first outing for Damon and Affleck’s new movie studio, Artist Equity, the two highlighted their vision for supporting actors and behind-the-scenes talents against a Hollywood marketplace that continues to squeeze profits (I could write a whole article about this dynamic alone, but in short, it’s primarily due to the streaming model awarding less financial gains for the talents involved). They ensured a change of culture with their first production by compensating everyone involved, from the stars on the posters to behind-the-scenes production staff, with more significant paydays than average productions.
For this reason, “Air” resonated with me as the duo’s thesis statement against the modern Hollywood system and other capitalist parties that minimize the worth of creative collaborators in favor of sheer efficiency. It is easy to connect Sony and his contemporaries to Damon and Affleck, with both parties venturing outside familiar norms to enact positive systematic changes in their industry (without spoiling, “Air” gradually shifts toward the conversation of financial equity for athletes). Whether you think there is value in that premise deriving from rich celebrities is worthy of debate, but I thought the concept still rang true with sincerity and impact.
“Air” soars to remarkable heights for a sports film. Affleck and company deliver moxie and intelligence in a rousing effort that stands firmly above typical crowd-pleasing tendencies.
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