Category: Jay Mohr

AIR

By Marc S. Sanders

Pop culture for me began in the early 1980s.  Burger King had Star Wars glasses to collect. Everyone was running to the theatres to see Beverly Hills Cop.  Ray Parker Jr asked us who we were gonna call, and a little old lady wanted to know “Where’s The Beef?” 

Apparently, basketball was big too.  I wouldn’t know.  I only followed sports once in a blue moon.  However, I wanted the high-top sneakers that all the guys were wearing, the Nike Air Jordans.  Couldn’t make a free throw shot to save myself, but I explained to my mom that I just had to wear the shoes.  I owned two pair – one was charcoal and white and the other were black and blue.  Beautiful accessories to go with my Levi jeans, Ralph Lauren Polo shirts and my Member’s Only jacket.

All of these memories flooded back to me as I watched Ben Affleck’s latest directorial production called Air.  The film recaps how Nike, a distant leading third place sneaker brand in the USA, signed the eventual greatest basketball player to ever perform on an NBA court, Michael Jordan of the Chicago Bulls, as the celebrity face for its flagship shoe that still reigns supreme today, over forty years later.  Air is not so much a sports movie, as it is that rare breed of film hardly touched upon.  Air is an inspirational, stand up and cheer success story of capitalism and materialism. 

The year is 1984.  Nike’s headquarters reside in the sleepy state of Oregon.  Affleck’s longtime friend Matt Damon portrays Sonny Vacarro, an out of shape Vice President of Marketing for Nike who is tagged with finding the next flash in the pan basketball star to sponsor their shoes.  Sonny can recite statistics and facts about any past or present player in the league verbatim.  He also has a knack for recognizing the potential of up-and-coming stars fresh out of high school and college.  Nothing seems interesting, however.  Sonny religiously watches videotapes of game footage and one night it occurs to him that a rookie kid named Michael Jordan is the answer to Nike’s stagnant profit and loss statements. 

Sonny’s got challenges to overcome though, like convincing his fellow executives played by Jason Bateman and Chris Tucker to jump on his campaign.  He also needs to get Phil Knight (Nike’s CEO, played by a bearded and often barefoot Affleck) to invest their entire $250,000 budget in the faith of one player with no proven track record, as opposed to spending the money on multiple players.  It’s like playing roulette with everything on Red 23.  Perhaps the hardest obstacle will be swaying Mr. Jordan’s tough and intuitive mother, Deloris Jordan (Viola Davis, a clear front runner for Best Supporting Actress), to go with this company, as opposed to Adidas and Converse who seemingly can provide for any of her son’s requests, including a shiny red Mercedes coupe on top of any dollar figure imaginable.

Ben Affleck’s direction, with Alex Convery’s script, works so well because it operates on industry.  Vaccaro not only travels unexpectedly to the Jordans’ home in North Carolina, but he’s constantly working the phone on Michael Jordan’s ball busting, slick and foul-mouthed sports agent (Chris Messina giving a hilarious performance worthy of a nomination as well.).  The negotiations these guys communicate with hinges on how descriptively ugly they can be with their dialogue and tete a tete cursing.  Every conversation has to end with that much more of a dramatic hang-up.  Sonny also must take the elevator down to the design center basement, and delegate a quirky kind of guy (Peter Moore, played by Matthew Maher) with designing a shoe that stands above anything ever seen before. 

There’s a process to how to some of the most well recognized manufactured goods in the North American continent came to be and continue to circulate for decades on end.  It could be Coca Cola, or Ray Ban sunglasses or Ford Mustangs or Nike Air Jordans.  Matt Damon is the energetic thread that is connected to every ingredient and participant responsible for this finished product. 

Outside of the operation is the quiet Deloris Jordan protecting the best interests and image of her talented son.  She will ensure he is not taken for granted and most importantly he will be the one credited for every consumer who puts a pair of Air Jordan shoes on their feet. 

In less than two hours, Ben Affleck uses Convery’s script with perfect efficiency and time devoted to a passion for Sonny Vaccaro and a careful process of examination by Deloris Jordan.  Matt Damon and Viola Davis are so much in tune with their respective roles. In fact, the whole picture is perfectly cast.

This is a story that takes place in boring offices and cubicles.  Yet, the film comes alive with a culturally relevant soundtrack of pop culture music of its specific year, 1984, when life for middle class families seemed easier following an exhausting Vietnam War and an assurance of politics from a US President who held office for most of the decade.  People went to the movies in the summertime. They watched Dallas and Miami Vice on Friday nights.  Teens wore the one glitter glove on their hand as a salute to Michael Jackson.  Kids collected Care Bears, He-Man toys, and Garbage Pail Kids cards, and they saved up their money to emulate a basketball superstar by wearing his brand name shoes.

Too often films reflect back on business and industry that has betrayed the buyers and investors.  Films like The Big Short and a few interpretations of Bernie Madoff’s pyramid scheme come to mind.  I’m waiting for the movie that will focus on one of the greatest foul ups in business history, New Coke.  Air reminds me that we don’t have to always embrace the tragedies of business operations by focusing on where it has failed us time and again. 

Nike Air Jordans are an expensive epitome of materialistic need.  Yet, business is also about giving consumers what they want, and if that is done, then its success spreads to prosperity and financial security for many parties throughout the nation and the world.  Air is a film that should be shown to business majors in universities.  It teaches the art of risk, passion and confidence when taking on an investment and holding on to who can be each generation’s next hero. 

Air is a standout film, and I’ll accept the risk of declaring it one of the best films of 2023.

GO

By Marc S. Sanders

Character perspective is so vital to a story.  It becomes even more important when you are telling multiple tales.  When you have a collection of five or six characters in your screenplay and they each have a circumstance that overlaps with one another, a smart way to narrate one reckless evening is by chopping up the time period into multiple plotlines.  Numerous stories offer several perspectives and then you may appreciate what director Doug Liman accomplishes with one of his earliest career films, Go.

Go focuses on an assortment of early twenty-somethings scrounging for money while also taking in the nightlife during an evening close to Christmas.  Two supermarket cashiers, Ronna and Simon (Sarah Polley, Desmond Askew) have different things on their mind.  Ronna, who is exhausted having worked double shifts, is on the verge of getting evicted from her apartment because she has no money to pay the rent.  Simon just wants to go with his buddies for a good time in Las Vegas, but he’s got to work.  So, the two swap shifts. 

The script follows the Ronna avenue first where she meets up with some acquaintances of Simon’s looking to score some ecstasy.  Ronna thinks of a get rich quick scheme to meet with Simon’s drug supplier, Todd (Timothy Olyphant), and then sell to Simon’s buddies directly.  Naturally, it doesn’t work out so neatly.

The second act of the film focuses on Simon with three buddies (Taye Diggs, Breckin Meyer and James Duval).  Because Simon is written as happy go lucky, but also careless, he’ll get into his own kind of adventures and mischief.  It can only happen in Vegas.

The third act turns the viewpoint over to those acquaintances that approached Ronna, two soap opera actors named Zach and Adam (Jay Mohr, Scott Wolf).  These guys weren’t just looking to score some drugs.  They’re up to something else entirely.

I’ve never been one to take to movies where the characters are intoxicated or high through most of the film.  I can only handle so much of Seth Rogen’s drug episode schtick like with Pineapple Express, released years after Go.  What’s most appealing about Liman’s film, however, is that you are moving along one path, and then suddenly you are reversed and driving down the other side of the fork in the road.  This routine occurs again for a third time. 

Much like Quentin Tarantino’s Pulp Fiction, you can argue that the writer/director could simply take the straight route from beginning to end.  Yet is that really interesting?  Would Pulp Fiction have worked as well or better than its final composition?  Don’t we usually see that approach in everything else out there?  As well, these characters are not following a storyline that contains gripping material with symbolism or intense dialogue and circumstances.  So, how exactly do you heighten a kid buying drugs off another kid while keeping the viewers’ attention span?  You stir the pot.  (No pun intended.)

Following a rage dance club effect of opening credits, Liman does a close up of Katie Holmes as Claire, Ronna’s friend.  She’s talking to someone, who we can’t see, about how fun the surprises are with opening Christmas presents.  Go works from beginning to end because it turns in surprise encounters that you would never expect.  Call it a butterfly effect.  A flap of the wings leads to this encounter which leads to that encounter and so on.  If you are taken with the film, you just might smirk with pleasant surprise when you uncover who Claire is actually speaking to.

Early on in the film, we will see a one-sided conversation on the phone.  Later we will see the other side of that same call and I get a kick out seeing a story running parallel to another story I just got done seeing. (Forgive the redundancy of that sentence, but that’s the point!)

Another moment will have a character draw a gun on another character, only a hit and run with a car disrupts the moment.  Thankfully, we’ll meet the personalities behind that car later on.  As the picture becomes more and more clear, you might cheer “Bravo!” at the invention of Go.

As noted before, Doug Liman’s movie has been compared to the drive behind Pulp Fiction.  I understand the temptation to make that association.  However, this movie stands on its own.  Where Tarantino will show perspective of different characters, he will branch off into forward thinking with new events.  Go steers its focus to parallel plot points.  We see what’s occurring in Los Angeles right now with Ronna.  Later, we will see what’s happening in Las Vegas at that very same time with Simon.  Tarantino picks up where we left off.  Liman documents what’s happening elsewhere.  While these two characters are going along their own paths simultaneously in different parts of the universe, what happens to one of them will bear on what happens to the other as the trajectories continue. 

I might be making this out to be fancier than it ever needed to be, but it’s a kick ass good time, nonetheless.  The soundtrack is absolutely fun.  You get absorbed in the settings, almost wanting to be in the Christmas night club party with strobe lights and neon colors, or the Vegas casinos and strip joints.  The personalities and dialogue are super smart and witty with hilarious comebacks.  “If you were any more white, you’d be clear!”

At the time Go was released in 1999, from a marketing perspective, it did not appear all that attractive.  Lots of club music and symphonics surround the picture.  The most marquee name in the film, probably still, is Katie Holmes who is not exactly on the same level as an Angelina Jolie or even a Jennifer Lawrence of today.  Yes.  Nearly twenty-five years later many of these young actors are more recognizable.  I dare you to come up with their names though as soon as you see them in the picture.  However, because I’m not watching Tom Cruise or Brad Pitt, I have no expectations of how any of these various storylines are going to turn out.  When the film leaves the Ronna storyline, are we going to get to see what happens to her next?  Will Simon get back from Vegas?  Lots of questions abound as the film moves on.

While Go is reveling in its debauchery, it’s performing as a smart machine that hits all the right notes where it will lay the groundwork for comedy, but then segue into serious material where the protagonists find themselves in a situation they might not be able to escape.  Go is a movie that keeps you alert, even if you’re high, during one sleepless and irresponsible night.