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WeWork: Fake it Until You Make it

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Everybody wants to believe in unicorns. 

These fabled creatures are majestic to see on paper. With every image, they inspire dreams and hopes of the Fantastic. But, no matter how hard you look, it’s clear to see that they never existed in the first place.

Based on this description, unicorns also exist in the business world—although the end result is the same. Directed by Jed Rothstein, WeWork: or the Making and Breaking of a $47 Billion Unicorn follows the unbelievable rise and fall of one of the largest corporate flameouts in recent memory. Led by their magnetic hippie leader Adam Neumann, WeWork began with a simple vision: to give young businesses a place where they could work together and support one another as they launch. Growing at an explosive rate, their community-centric ideal sent waves through Wall Street, amassing global interest. However, if something looks too good to be true, it probably is and, eventually, dreams must face the hard truth of reality.

Compelling from start to finish, WeWork is an amazing cautionary tale that speaks to the power of vision but the toxicity of arrogance. In WeWork, Rothstein has a fascinating subject that highlights the unique state of the business world. Coming at a time where YouTube millionaires have become commonplace, Neumann’s story almost sounds familiar. Loaded with a dream of creating space to support small businesses, this young man and his team built a business that seems worth admiring. (Does it get any more mythic than the tale of a dreamer empowering other dreamers?) However, at the same time, it quickly becomes clear that WeWork is not going ToWork financially, until ‘creative bookkeeping’ keeps them in the game. Filled with interviews from those who participated in (and bought into) Neumann’s ideal world, Rothstein does an excellent job of presenting a well-rounded portrait of WeWork’s culture from the inside. While never endorsing Neumann, neither does he fully demonize him either, allowing the viewer to decide the true value of his vision.

With this in mind, the most polarizing aspect of WeWork is Neumann himself. Part guru, part Zuckerberg, there’s a lot to admire about the young dreamer. His charisma and charm are infectious, especially at WeWork’s initial launch. However,WeWork also recognizes that these attributes, while attractive to follow, do not necessarily make a quality leader. With a mantra and expectations dependant on employees buying into their corporate culture, Neumann’s personality seems to border on cult leader at times. Preaching the benefits of community and, at times, world domination, he speaks as a spiritual guru and works (seemingly) with little accountability. (As one person says, ‘If you tell a 30-something male that he’s Jesus Christ, he’s inclined to believe you.’) Then, as things begin to spiral out of control, Neumann’s commitment to the vision makes him both sympathetic and terrifying as he attempts to scramble to preserve what’s left of his dream. 

What’s amazing is that WeWork’s premise that start-ups could work together in an open space actually appears to have merit. Neumann’s vision to bring people together to achieve their dreams is a surprisingly powerful model for businesses moving forward, especially for young Millennials who truly believe that they can change the world. (What’s more, the fact that this took place immediately before a global pandemic is not lost on WeWork, as former employees yearn for the type of community that was pitched to them when they first hopped on board.) Led by a simple vision, WeWork gave young people the opportunity to work in a Facebook or Google-esque environment while still creating their own vision. This was an environment where people could feel supported by one another as they attempt to carve out their niche together… and it was working. While there will be some that question their expansion into the world of housing and education, there is much to be said about the value of their intent. To Neumann and his wife, the true value of WeWork as a company began not out of financial value but in its (supposedly) spiritual emphasis on connectivity.

The one thing lacking from this film is the voice of the enigmatic creator, himself. Though its completely understandable why he would not want to participate, one wishes that Neumann would have agreed to appear in the doc so that we could hear his perspective. His belief that the workplace—and the world—could be transformed by collaborating and celebrating the achievements of others is a noble goal and seems achieveable. To change the face of Wall Street while doing it though truly does seem too good to be true.

Most unicorns do.

WeWork is available on Hulu on Friday, April 2nd, 2021.

Solar Opposites: Relaunching into Season Two

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Justin Roiland and Mike McMahan, the comedic geniuses behind Rick and Morty, are back again with the second season of Solar Opposites. Returning to the journey of the aliens from Shlorp; Korvo, Terry, Yumyulack, and Jesse and their goal of evolving their Pupa to terraform Earth. Similar to the first season, the viewer embarks on the comedic journey of this alien family on the planet Earth surviving and adapting to human culture. As well as trying to survive with each other’s contrasting personalities, Korvo and his replicate, Yumyulack, only want the renewal of their homeworld Shlorp. Korvo and Yumyulack want nothing to do with humans, seeing our species as disgustingly greedy selfish beings. However, Terry and his replicate Jesse begin to relish in America Earth culture as well as having a wholesome outlook on our species, seeing our potential as something greater.

The story and tone of Season Two is very similar to that of Season One. In terms of structure, the A plot features either Korvo and Terry, or the B plot features Yumyulack and Jesse, though sometimes they switch turns. Then, there is the glorious C plot of what people considered the best part of the show: “The Wall.” The A and B plot featuring the aliens is incredibly creative and fun. Justin Roiland really takes his creative talents from Rick and Morty and puts them to good use on Solar Opposites. Crazy alien designs, technology, made up alien words, and extreme sci-fi action sequences really portrays how “alien” these aliens are. 

There are some issues that I found with S2 (and still have) with Solar Opposites, in general. Its goal seems to still be relying too heavily on the high-concept sci-fi elements of the show. Though creative, the story itself is much too linear, leading to it being predictable and straightforward. Comparatively, Rick and Morty has high-concept sci-fi elements but also maintains complex characters and plots that are unpredictable and always challenged the viewers expectations and perception of traditional story arcs and narrative. As a result, Solar Opposites feels like a much more laxed version of Rick and Morty, with a lack of plot and sci-fi elements that are not high-concept or creative enough to make up for it. 

Solar Opposites‘ A and B Plot are both C-tier at best. However, Solar Opposites C-plot “The Wall” is an A-tier story beyond the show itself and deserving of its own standalone story. Jumping straight back into the events ending from S1, the shrunken inhabitants living in Yumyulacks and Jesse’s wall continue to survive and live on in their seemingly post-apocalyptic community. What makes it so great is that, unlike the alien storyline, the wall has a serialized narrative with characters that are three-dimensionally written with realistic personalities, as well as having actual stakes on the line living in the wall. This is a huge contrast from the aliens who all are one-note characters that are boring and predictable.

Another great thing about the Wall is that the scenario and scenery are immersive. Everything from the props and background is in there under the consideration of the inhabitants being tiny. One small example comes through the food in the Wall. Things like berries are massive to them, and having a lack of traditional protein in the wall has caused the people to adapt and use things like mouse milk and the meat of insects. Even something as small as BBQing an ant roast-pig-style really help open up this immersive tiny civilization that they’ve built. Everything from their economy, houses, clothes, and politics is built upon the foundation of their tiny situation. The creativity really contrasts with the alien’s plot. Making the wall story that much better and the alien plot much worse. They really are solar opposites. 😉 I can’t wait to see more of the Wall next season and am far more invested in the ongoing situation happening there than the aliens goofing around. 

Season 2 of Solar Opposites picks up with the same vibe and energy of the first season. If you enjoyed S1, then you’ll definitely enjoy season 2. The alien family continues to survive on earth, with some viewers enjoying it more than others. More importantly, the Wall is back and better than ever as it continues to shine and keep me invested into the story. Overall, Solar Opposites is still as fun to watch as last season and worth recommending.

Solar Opposites Season Two is streaming on Hulu.

Boss Level: Groundhog Death

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Trapped in a never-ending time loop that always ends with his inevitable (and usually brutal) death, former special agent Roy Pulver (Frank Grillo) is beyond frustrated. Constantly hunted by contract killers, he has no idea why he seems to have a target on his back—or why he must keep reliving the experience. When he discovers that a secret government organization led by Colonel Ventor (Mel Gibson) seems to have the answers about his fate, he both must outrun the ruthless assassins who relentlessly pursue him and attempt to save his ex-wife (Naomi Watts) before the clock runs out… again…

Directed by Joe Carnahan, Boss Level is a ridiculous and free-wheeling cacophony of bullets, blood and bad guys that fires on all cylinders from start to finish. 

It’s also ridiculously fun.

Pumped up on 70s rock music, the film feels like the delicious result of throwing Groundhog Day, John Wick and Scott Pilgrim vs. the World into a blender and hitting the ‘puree’ button. Though the action is intense and graphic, this ‘ode-to-video games’ runs at full speed with a sardonic wink and never takes itself too seriously. Known for such actioners as Smokin’ Aces and The A-Team, Carnahan has made a career out of his ability to balance comedy and violence and that skill is on full display here. With every repetition, Carnahan understands that variations are needed to keep the audience interested and he make subtle tweaks in each encounter to show Roy’s growth and his increasing ability to defeat the endless parade of adversaries in his way. 

As the film’s central core, this is also a film that rests solely on the muscular shoulders of veteran actor Frank Grillo, who truly shines in the role of the loveable anti-hero. Though likely best well-known for his role as Crossbones in the Marvel films, Grillo has mostly languished away in B-movies and secondary characters for some time. While Boss Level may not necessarily be a high-profile film, it certainly provides him the opportunity to establish himself as a legitimate action star and he makes the most of his chance. Attacking the set-pieces with intensity, he exudes a mix of frustrated brokenness and rogue-ish charm here that shows the talent he truly possesses as a leading man. (If anything, the only disappointment in the cast is Gibson who, through no fault of his own, is given very little to do other than sit behind a desk and be ‘bad’.)

Revenge films can be somewhat ridiculous in nature—let’s not forget that John Wick is really about a man seeking vengeance for the death of his puppy—and Carnahan knows it. As a result, he leans into the playfulness of the gaming concept with a glee that we haven’t seen in his work for some time. Without an established IP or any particularly expectations of his audience, Carnahan manages to avoid the traps that so often hinder other ‘gaming’ films and simply lets the viewer enjoy the ride. With green pixelated graphic cards, increasing ‘leveling up’ for our hero and wild character physicality, Boss Level fully understands the digital world that it seeks to emulate and it does so with enthusiasm. Violent, irreverent and repetitive, each victory feels like an accomplishment, even if it usually results in Ray’s death with a more difficult adversary. (In fact, the film feels so much like a video game that one almost expects to hear a voice-over to demand that he ‘finish him’ as each boss is defeated.) 

Even so, underneath the gunshots and swordplay, it’s worth noting that Boss Level does have a soul. While his endless ‘respawns’ help him learn how to defeat his foes, his character begins to recognize that revenge feels incomplete. Having lost the woman he loved and their son due to his past mistakes some time ago, there’s a sadness that plagues Ray. Even though his bloody vengeance provides an outlet for his rage, it is unable to fill the void in his soul. As a result, without giving any spoilers, there comes a point where Ray recognizes that the best use of his repetitive life is to level up as a person, as opposed to his warrior skills. This shift in perspective also allows him the freedom to recognize that the nature of true victory in this world of never-ending bloodshed lies in the relationships that we have as opposed to the bosses we defeat.

With a refreshing sense of silliness and fun, Boss Level is an entertaining night for any action fan. Carnahan and Grillo have created a world that carries an old-school gaming mentality yet never loses its humanity. Underneath the violence and insanity, there’s a beating heart to the film that keeps it from losing its way. 

So, put my quarter on the bottom of the screen. I’m ready to play again.

Boss Level streams on Hulu on Friday, March 5th, 2021.

The Ultimate Playlist of Noise: Listening for Life

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One of the strangest popular sub-genres in the last decade has to be the ‘teen cancer’ genre.

Having risen to prominence in recent years, there appears to be an ongoing interest for learning to experience one’s life when faced with an often-deadly disease. From the good (The Fault in Our Stars, Me and Earl and the Dying Girl) to the forgettable (Then Came You, Midnight Sun), there are countless films in the last decade that embrace the dark realities of trauma, usually with mixed results. It may seem counterintuitive but these have often become defining films for a generation of teens who are looking to experience life by staring into the face of death. In Hulu’s The Ultimate Playlist of Noise, the outcome lands somewhere in between by offering a relatively charming film that still feels somewhat lacking.

Directed by Bennett Lasseter, The Ultimate Playlist of Noise tells the story of Marcus (Keean Johnson), a high school senior who is so infatuated with music that he creates mixtapes for his friends to meet their various needs. When an unexpected seizure reveals a tumour in his brain, Marcus is stunned to learn that the impending surgery will leave him without hearing. As he grapples with his future, Marcus leaves home on a road trip with the intent of creating the ‘ultimate playlist’ of sounds that he wants to experience while he has still the opportunity to do so.

It’s worth noting that Playlist does have a certain sense of style. With its love of 70s rock (!), cassette tapes (!!) and handwritten text, Marcus is a young man who seems to yearn for tangible experiences. What’s more, the chemistry between Marcus and potential love interest, Wendy (Madeline Brewer) produces enough moments of energy to prevent Playlist from losing its way. Though it’s hardly the best example of modern teen drama, the two leads work well together, creating some fun banter and ‘life moments’ that will resonate with its target audience.

Even so, the film still feels hollow at times. It’s hard to explain but, amidst its exploration of what’s real, the film doesn’t always feel like it’s being honest. Side plots like Wendy’s ex-boyfriend and his parents ‘desperate search’ to find him never seem fully resolved. In addition, it is somewhat troubling at times to see the way in which Playlist wrestles with the prospect of deaf culture. Unlike Darius Marder’s stunning Sound of Metal, Playlist seems to wash over the concept of hearing loss for the most part. While it’s entirely understandable that Marcus would be terrified about losing the sense that he holds most dear (as exemplified by his love of music), it is somewhat surprising how little the film explores the potential of his new life.

But really, this isn’t a film about losing your hearing. 

Rather than focus on life after Marcus’ surgery, Playlist leans more heavily into the imminent nature of change. (In this way, Playlist takes more of its cues from The Fault in Our Stars than it does Sound of Metal.) As a coming-of-age drama, the film takes the time to appreciate the smallest things in life that we take for granted. As Marcus embarks on his journey, he discovers an almost lyrical quality to the smallest of sounds and moments, be it a thunderstorm, roaring chainsaw or the moo of a cow. As is often found in these sorts of stories, Marcus’ playlist is really about discovering and experiencing what’s real for himself. While his mother attempts to prepare him for the next phase of his life with ASL classes and church events, Marcus is more concerned with closing the book on his life up to this point. For Marcus, his loss of hearing is an oncoming wall to which he cannot see past. As a result, he needs to believe that he’s actively ‘lived’ before he begins to lean into the future that approaches.

While the film carries charming performances and some moments of joy, The Ultimate Playlist of Noise does play a little too fast and loose with its subject matter to ever feel like it fully rings true. Even so, though it may not be the best entry into this unique sub-genre, there’s enough to enjoy about this Playlist to give it a spin.

The Ultimate Playlist of Noise is available on Hulu on Friday, January 15th, 2021.

Happiest Season: Everyone’s Story has a Place

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I’ll get right to the point: if you’re looking for something charming and funny as we cautiously look to the end of 2020, Happiest Season is everything you could possibly need.

Personally, I can handle about zero angst in movies right now. Call it a casualty of 2020, but my tolerance for anything overly serious or dramatic is essentially nonexistent, especially if it’s in a movie I’ve never seen. Now granted, there is the relational angst that is often the central conflict in holiday films, and Happiest Season totally has that covered. But it was a good angst, and I’ll explain why.

But first, let’s start with the cast. I have two words for you: Dan Levy. Yes, THAT Dan Levy of sweeping Emmy wins for Schitt’s Creek, one of People magazine’s Sexiest Men of Alive, and all around beloved by basically everyone these days. I don’t even know if he’s considered a main character or not as best friend John, but his presence alone is a reason to watch. Of course, stars like Kristen Stewart, Victor Garber, Mary Steenburgen, Aubrey Plaza, Mackenzie Davis, and Alison Brie (what a cast, amiright?) elevate this heartwarming story into something special.

Perfect couple Abby and Harper (Stewart and Davis respectively) make plans to visit Harper’s family for Christmas. But there is one *major* wrinkle in the plan – Harper’s parents don’t know she is gay and in a relationship with the “orphan roommate” she has brought home.  Compounded by her parents’ stress surrounding Ted’s bid for major (Ted and Tipper are played by Garbor and Steenburgen), Harper keeps Abby at arm’s length and back in the closet. Naturally some old flames of Harper’s show up, including her first girlfriend Riley (Aubrey Plaza). Between sisterly competition, pressure to impress, and secrets uncovered, everything compounds on Christmas Eve, and this seemingly perfect family explodes into disarray.

I’m going to leave it there as far as plot, because I’m hoping you will watch the film. (Make sure that you watch the credits too for the pictures that continue the story.) From here, I’m going to get a bit personal, so I hope you’ll stick around and indulge me for a moment or two.

Representation in film is something that I am becoming increasingly aware of because I believe that film is for everyone. Everyone should be able to look up or at a screen and see themselves. As a straight, Christian woman, I am not at all offended by a lesbian-centric storyline. It’s about telling the stories that are happening every day all over the world. It’s totally ok for good stories to be just that – good stories. And those stories aren’t limited to heterosexual relationships.

Maybe there wasn’t necessary anything “new” per se in Happiest Season but it was genuine and sweet. But, most importantly, the film is about loving your own story and those who are a part of it. And that’s a lesson we can all embrace. 

Happiest Season is available on Hulu now.

Ramy – Searching for God

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“I feel that the problem’s really that I just don’t know what kind of Muslim I am. Like there’s Friday prayers and then there’s Friday night and I’m, like, at both. I wanna pray. I wanna go to the party.”

The Hulu original series, Ramy, takes us into the world of a young Muslim man as he struggles to live out his faith. Ramy (played by Ramy Youssef, who created the show and co-wrote most of the episodes) is from an Egyptian-American family living in New Jersey. His life is directionless. He and his friends are concerned with, but not always observant what is halal (permitted) or haram (forbidden). Ramy does not drink or do drugs, but he sleeps around and watches a great deal of porn. He wants to be a good Muslim. He is clear that he believes in God (“God God, not yoga”). But he’s not sure how to live up to the calling of being Muslim.

The fact the Ramy is Muslim is important to the story, but it should be noted that the kinds of struggles he goes through are really not that different than they are for someone seeking to be a good Christian, a good Sikh, a good Jew, or a good Buddhist. He recognizes that there is more to being Muslim (or any religion) than just prayer and worship. If one doesn’t shape one’s life to the teachings, what good is the religion?

It is hard to characterize the series. On the surface it is a sitcom that looks at Ramy’s life with his friends and family. He and his sister Dena (May Calamawy) are thoroughly at home in American culture. His parents (Amr Waked and Hiam Abbass) still hold on to many of the ways they brought from Egypt. Ramy also struggles in his job working for his rude bigoted Uncle Naseem When the film is in sitcom mode it often relies mostly on sexual humor (sometimes crude sexual humor). But then an episode will come that is heartbreakingly serious. Some of those serious episodes center on one of Ramy’s family members. We get a chance to see their struggles with living in two cultures as well.

There are two seasons of the series currently available on Hulu. In Season 1, we follow in Ramy’s failing search for balance in his life. He keeps looking for ways to live in accord with his faith, but not only comes up short, he often makes even bigger mistakes. He understands that his life is sinful, but seems powerless to overcome himself. At the end of the first season, he makes a trip to visit family in Egypt. This is a pivotal event. He meets and falls in love with his cousin (Rosaline Elbay), but he also discovers Sufism, a more mystical movement within Islam that speaks to him.

Season Two has a much different vibe. Having returned home, Ramy learns of a Sufi center near him, and connects with its leader, Sheikh Malik (the fabulous Mahershala Ali). The Sheikh is initially uncertain about taking Ramy on as a student. He senses that Ramy is too self-centered to truly learn. That self-centeredness becomes an ongoing issue in Ramy’s life through this season. But soon, we see Ramy begin to mature. He seems to be living into his faith for the first time. He even gains the romantic attention of the Sheikh’s daughter, Zainab (MaameYaa Boafa). But the more he seems to mature, the more he risks losing if he fails. And indeed, his self-centeredness will prove his undoing.

Ramy is the most spiritual show I’ve seen on TV in many years. Although it is centered in Islam, it offers insight for people of any (or no) religion. It treats religious faith as an important part of life. At the same time, it makes it clear that following a spiritual path can be very difficult. It also gives us some insight into some of the barriers that we can place between ourselves and God. Is it enough to follow the rules? Even that seems beyond Ramy’s abilities. Do we improve ourselves by helping others? Or is helping others only a way of making ourselves feel better about our shortcomings? It even raises a difficult question of if we practice a religion because of ourselves or because of the God in the center of the religion?

Near the end of the final episode of Season Two, Ramy, his life in ruins hears a CD made for beginners in Islam. It quotes the Quran: “Truly God loves those who come unto him in repentance and loves those who purify themselves”. I suspect this is part of the framework for the next season. It is also an important concept for Ramy (and us all) to come to terms with. It suggests that God does not turn away from us even when we fail in living in God’s ways. It also suggests that the recovery of spiritual wholeness begins by our turning again towards God. I am reminded of one of the most significant phrases in Islam is three words (in Arabic) that are put at the beginning of all but one of the Suras in the Quran. They translate as “In the name of God, the compassionate, the merciful”. It is the compassion and mercy of God that many of us—across religious boundaries—rely on.

HotDocs ’17: Becoming Bond

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“History will be kind to me for I intend to write it.” – Winston Churchill

Opening with the above Churchill quote the documentary Becoming Bond may be the strangest example of story-telling in recent memory.

Directed by Josh Greenbaum, Becoming Bond tells the story of one-and-done Bond actor George Lazenby—or rather, allows Lazenby to tell his own story. Combining both interview, archival footage and dramatic recreations of his life, the film recounts Lazenby’s life from a young Australian ‘larrikin’ until after his role as the famed British agent in On Her Majesty’s Secret Service.  (Incidentally, the film even explains the surprising reason why Lazenby only took on the iconic role once.)  Sharing his relationships, sexual conquests and, of course, his experience as Bond, the film is both character piece and classic comedy at the same time.

In his interview segments, one can see why Lazenby—now seventy-six years old—was offered the Bond role in the first place.  While he comes from modest roots (he was actually a used car salesman prior to this acting debut), Lazenby still has incredible charm, confidence and a playful sense of braggadocio.  In many ways, he is the underdog that you cannot help but cheer on.  (No spoilers but his account of how he actually locks down the James Bond role is so bizarre that you simply won’t believe it.)

And, herein lies the irony of Becoming Bond.

While Lazenby seems earnest in his desire to share openly all aspects of his life, the film constantly seems to wink at the audience in the most playful of ways.  Through its use of studio sets in the historic re-enactments, the imagery takes on an ‘old Hollywood’ look (incidentally, not unlike the Bond films themselves).  By casting recognizable actors (Dana Carvey, Jane Seymour, Jeff Garlin, and more) in key roles, Greenbaum also manages to take the audience out of the documented moment, giving it the feel of a television sit-com or Monty Python sketch. Through the use of all of these stylistic devices, the film spins its narrative in such a way as to be both convincing and unbelievable.

While not necessarily it’s goal (or is it?), Becoming Bond actually raises some interesting questions about the nature of truth in this regard.  Is an event true because it’s how we remember it?  (After all, when asked how much of his story is true, Lazenby seamlessly answers “How could I remember it if it isn’t true?”)  Is it objective? Becoming Bond seems to land somewhere in between, where truth is a living construct, constantly moving in the ebb and flow of memory. In the end, Lazenby’s tale is one you absolutely want to believe—but does that mean it’s actually true?  After all, as Lazenby believes, “You can defy what people expect of you and write your own story.”

This is a story that is so intriguing, you’ll have to see it to believe it.

Trust me.

Becoming Bond is playing at May 3, 8:30 pm, TIFF 1; May 4, 3:45 pm,Isabel Bader; May 5, 7 pm, TIFF 1