In a bleak, warless future society that stylistically looks a lot like the 1970s, corporations have taken over for governments. But without war the people are still bloodthirsty so they get their kicks from a sport called rollerball, a male version of roller derby, but way more violent and even deadly. Besides guys zipping around a track on roller skates, punching each other out, there are motorcycles too. Worrying that a player can get too popular, corporate head honcho Bartholomew (John Houseman) informs Houston’s star player, the he-man Jonathan E. (played by he-man actor James Caan, a couple years after The Godfather made him a big star), that he needs to retire, but Jonathan E. plays by his own rules and will do what it takes to not be a lackey for the man.
Rollerball director Norman Jewison had a long and respected career moving easily between comedy (The Russians Are Coming, The Russians Are Coming), social drama (In the Heat of the Night) and even musicals (Jesus Christ Superstar), but his work usually had a liberal take to it (A Soldier's Story, ...And Justice for All) and though he was no stranger to straight entertainment (The Thomas Crown Affair) he must have looked a little miscast as a sci-fi action director. Luckily the action is well shot and the rollerball game sequences are still amazingly exciting, but there are only a couple of those games so, at over two hours long, there’s a lot of exposition in between. As a kid, all the talk was boring and...
The print journalist drama is a bona fide subgenre; the most popular films like All The President's Men or, more recently, Spotlight are about the crusading journalist overcoming obstacles in pursuit of the truth. Often more interesting is the cynical side of the coin, about the corruption of truth, but those films don’t usually connect with the public or award-givers as easily. The best of the genre would be a couple of masterpieces -- Billy Wilder’s Ace in the Hole and to some extent Orson Welles’ Citizen Kane -- but one film that went under the radar upon release and holds up very well is Shattered Glass. The 2003 docudrama was written and directed by Billy Ray, based on the true story of Stephen Glass (Hayden Christensen), a manipulative young reporter for the respected, 100-year-old highbrow magazine New Republic. When it appears that one of his stories was fabricated, an investigation by the editor, Chuck Lane (Peter Sarsgaard) leads to the embarrassing revelation that actually at least twenty-seven articles he wrote were completely made up.
Glass is the kind of passive aggressive guy who continually says "I’m sorry” or worse, asks his colleagues “Are you mad at me?,” putting them in the position to make him feel better, even when he’s wrong. He seems to have a knack for finding interesting characters and angles to political and cultural stories, and though he cozies up to anyone who could help his career, he’s especially cuddly to the women he works with (in an asexual way). But as a journalist he’s respected as a real wunderkind, apparently traveling the country finding witnesses to his colorful and offbeat pieces. When the beloved editor Michael Kelly (Hank Azaria) is fired for trying to overly defend his staff from management, he is replaced by the less lovable Lane. Glass writes an entertaining piece about a computer hacker convention that catches the admiring eye of the editor for Forbes Digital online magazine. He passes it to a writer, and here is where the Woodward and Bernstein of the story emerge. A pair of tech writers (Steve Zahn and Rosario Dawson) start to investigate Glass’ sources and find nothing but holes. While Glass can not account for all his shoddy note-taking, Lane becomes the only one who can take on the popular writer, as his colleagues, especially writer Caitlin Avey (indie darling Chloë Sevigny) have fallen under his spell.Continue Reading