TETRIS (2023)

March 31, 2023

Greetings again from the darkness. Were you one of those? Did you spend hours strategically placing ‘tetrominoes’ on the Gameboy screen for maximum points? Were you addicted to Tetris, one of the earliest globally popular video games? As one of the few people alive today who has never once played Tetris, I was still interested enough in its origin story to watch and review the film from director Jon S Baird (STAN & OLLIE 2018, and FILTH 2013) and screenwriter Noah Pink (creator of the “Genius” TV series).

Taron Egerton (ROCKETMAN 2019, EDDIE THE EAGLE 2015, the KINGSMEN movies) stars as Henk Rogers, who, when we first see him, is pushing the floundering video game he designed himself. It’s at a 1988 conference where he stumbles on an early version of Tetris, and the rest of the movie involves Henk trying to outmaneuver Russians, hucksters, and corrupt businesspeople – each more powerful than him – for the territorial rights to market Tetris, a surefire hit in the early days of video games.

At times, the story plays like a spy thriller, but mostly it’s a story of Communism vs Capitalism, with greed playing a significant role with all involved. One wouldn’t expect foreign intrigue and geopolitical business strategy to facilitate video game distribution, yet in fact, those elements are front and center. Henk’s’ journey finds him crossing paths with Robert Stein (Toby Jones), an international video game agent; renowned publisher and politician Robert Maxwell (an unrecognizable, except for that distinctive voice, Roger Allam) and his arrogant wannabe-power broker son, Kevin (Anthony Boyle); Hiroshi Yamauchi (Togo Igawa), the head of Nintendo; and most importantly (and stressfully), the Russians. If you don’t recognize the name Robert Maxwell, you surely know the story of his daughter, Ghislaine.

Alexey Pajitnov (played by Nikita Efremov) is the Russian computer programmer who initially developed Tetris, and of course, he is the one in danger when the game becomes embroiled in a tug-of-war between Russia and Westerners. Belikov (Oleg Stefan) negotiates on behalf of the Russian government, while Tracy (newcomer Mara Huff) acts as Henk’s translator. But, of course, in Russia, not everything is as it seems, so Henk and the Maxwells and Stein all act in ways not acceptable to Russian protocol. It’s Henk who has literally bet his house on Tetris, but Maxwell’s highly publicized shady business dealings are a factor as well.

At times, the film has a cartoonish feel to it … some of that by (8-bit) design, and some of it just in how the story is presented. Those involved have admitted they were following in the footsteps of THE SOCIAL NETWORK (2010), a superior film. Ego and greed are always a bit uncomfortable to watch play out, but we do learn that the name Tetris was formed by blending ‘tetra’ (four) with ‘tennis.’

AppleTV+ on March 31, 2023

WATCH THE TRAILER

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Posted by David Ferguson

STAN & OLLIE (2019)

January 5, 2019

 Greetings again from the darkness. Any list of the all-time great comedic teams would surely include Laurel and Hardy at or near the top. Influenced by pioneers such as Charlie Chaplin, Buster Keaton and The Marx Brothers, Stan Laurel and Oliver Hardy (the rotund one) rose to the top of the comedy world through their films and shorts produced by Hal Roach Studios during 1926-1941. In later years, we recognize the Laurel and Hardy influence in hugely popular acts such as Abbott & Costello and The Three Stooges. Director Jon S Baird (FILTH, 2013) and writer Joe Pope (PHILOMENA, 2013) deliver a warm tribute to the comedy giants by giving us a peek on stage and off.

The film kicks off in 1937 when the duo are the height of their popularity, and a wonderful extended opening take allows us to follow them as they make their way across the studio lot and onto the set of their latest film, WAY OUT WEST. Before filming the scene, they have a little dust up with studio owner Hal Roach (Danny Huston) over the money they are being paid per their contract. Stan thinks they deserve more, while Oliver, racked with debt from a stream of broken marriages, prefers to not rock the boat.

It’s this early scene that acts as a precursor to the challenges we witness in the business partnership side of the duo. Imagine if the work of you and your business partner were on display for the world to judge. And how does friendship fit in? The film flashes forward to 1953 when the popularity of the comedic duo has faded. They find themselves on a United Kingdom tour arranged by smarmy booking agent Bernard Delfont (played well by Rufus Jones). The purpose of the tour is to convince a film producer to back their Robin Hood parody idea. The early gigs are very small music venues and the crowds are even smaller. But these are true pros, and soon Stan and Ollie hustle up their own growing audiences, and by the time their wives join them on the tour, they are filling the best venues.

As Lucille Hardy (Shirley Henderson) and Ida Laurel (Nina Arianda) make their appearance, we soon find ourselves with two comedy teams to watch. The chemistry between the ladies is so terrific, they could be the featured players in their own movie. Lucille is a strong and quiet former script girl who is quite protective of her Ollie, while the outspoken Ida is a former Russian dancer who, in her own way, is also protective of the gentlemen performers.

The suppressed resentment over the (much) earlier Roach negotiations finally boils over in a heart-wrenching scene. The grudges and feelings of betrayal are voiced – alongside Ollie’s physical ailments. As they air their grievances, it cuts to the quick. Not long after, Ollie’s heart condition finds the two mimicking their “hospital” skit in real life … it’s a show of ultimate friendship that can only be built through decades of working closely together.

John C Reilly plays Oliver Hardy (the American) and Steve Coogan is Stan Laurel (the Brit). Both are extraordinary in capturing the look and movements of the comic geniuses. Mr. Reilly and Mr. Coogan are such strong actors, that it’s difficult to decide which segments are best. Is it the reenactments of some of Laurel and Hardy’s iconic skits, or is the off-stage moments when they are dealing with the human side of these entertainment giants? Reilly benefits from excellent make-up and prosthetics (that chin!) and Coogan has the hair and determination needed for his role.

Director Baird’s film is sweet and sad and funny. Stan and Ollie deserve this warm tribute, and it’s a reminder of all the stress and hard work that performers put in so that the show looks “easy”. This is what’s meant by honing the craft … even if it’s “another fine mess” accompanied by the trademark “Dance of the Cuckoos” music. Let’s hope the film attracts some youngsters who might gain an appreciation for the good ol’ days of Classical Hollywood.

watch the trailer:

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Posted by David Ferguson