Popping up on Netflix with their usual amount of pre-publicity (ie, virtually none), it's strange to think that a Steven Soderbergh movie can be dropped on the masses with little fanfare. But this is the streaming world we live in now. Styled somewhat as the basketball version of Moneyball, this fast-talking drama delves into the big-money business side of the sport - "the game on top of the game" - during a patience-testing lockout. Heavy on dialogue and light on explanation, Tarell Alvin McCraney's script is frustratingly oblique and borderline pretentious. The passion is clearly there, especially about bringing the sport back to its roots, but when everyone talks in riddles it becomes hard to care who wins and who loses. Soderbergh directs with minimal fuss, the entire film being shot on an iPhone (albeit with a relatively hefty post-production budget). He injects a few panning shots and scene transition effects, but otherwise lets his actors do most of the heavy lifting. Andre Holland (Moonlight) is decent as next-level agent Ray Burke and Zazie Beetz (Deadpool 2) is charismatic as his eager offsider, however it's Hollywood veteran Bill Duke (Predator) who shines brightest as an aging, old-school youth basketball coach who is endearingly stubborn. Unfortunately those on the other side of the equation, such as Kyle MacLachlan's team owner and Zachary Quinto's corporate higher-up, are one-dimensional stereotypes; disappointingly low-hanging fruit for the movie to target. There's a great movie - or better yet, a stage play - in here somewhere, but in its current form High Flying Bird is exasperatingly inaccessible.
64 Reviews
Small camera, big issues
screenotes9 February 2019
Soderberg's latest experimentation with the iPhone focuses on a struggling idealistic player agent during an NBA "lockout". You may wonder how so small a camera manages to capture or at least replicate the drama of fast-paced sporting action, particularly the pinnacle grandstand moment of that ole rags to riches sports tale. Without spoiling anything, let me tell you it doesn't. Or more to the point, High Flying Bird is less concerned with the sport of basketball itself than it is with "The game on top of the game".
Instead of an arena, the game is played out in offices and instead of action, there is dialogue. Considering the constrained budget and production schedule, it is a testament to the cast and to the screenplay that the film holds together at all. And yet it does. The performances are naturalistic while the story moves along at pace, generally eschewing exposition.
In keeping its focus narrow, centring on a small cast of characters, Tyrell Alvin McCraney's screenplay cuts to the core of issues of race and power in the NBA without a whisper of melodrama. In fact, considering the wider story it is telling High Flying Bird remains upbeat and inherently promotes a message of positivity.
High Flying Bird will not be for everyone, it could be accused of being a little dry. However it is an intriguing experiment in film-making which finds a new way to tell a story which needs telling.
Instead of an arena, the game is played out in offices and instead of action, there is dialogue. Considering the constrained budget and production schedule, it is a testament to the cast and to the screenplay that the film holds together at all. And yet it does. The performances are naturalistic while the story moves along at pace, generally eschewing exposition.
In keeping its focus narrow, centring on a small cast of characters, Tyrell Alvin McCraney's screenplay cuts to the core of issues of race and power in the NBA without a whisper of melodrama. In fact, considering the wider story it is telling High Flying Bird remains upbeat and inherently promotes a message of positivity.
High Flying Bird will not be for everyone, it could be accused of being a little dry. However it is an intriguing experiment in film-making which finds a new way to tell a story which needs telling.
It's a B-Movie - But In Great Way
MobileMotion8 February 2019
As Steven Soderbergh made his way back to feature film directing, bringing us the rough round the edges psychological horror Unsane - shot on iPhone 7+ smartphones. By contrast High Flying Bird was not shot on iPhone 7+ phones... actually iPhone 8+...
Soderbergh spoke about a new age of B-Movies. Not in the sense of second rate - but going back to the golden age of cinema, when b-movies were cinema fillers for huge audiences.
They were shot on low budgets. Often with limited lighting and not too many stars or spectacular sequences, with crowds of extras.
Instead, the director had to work around his limited means creatively, often filling a lot of the film with dialogue - as it's much cheaper to shoot: if you can't film all those scenes, you can always have one character tell another character what happened.
Be in no doubt, although a lot of those old B-movies were fillers, some were remarkable pieces of cinema. All the better for being forced into creative use of limited resources.
Indeed, this was how film noir was born. And that is very much what High Flying Bird reminded me of. Those old b-movie sports pictures which couldn't afford the big action scenes so left the sport part in the background while the action focused on the backroom talk.
I loved the cinematography. And it was absolutely refreshing to see old school camera angles instead of the tedium we get now - when every kid with a few hundred dollars to spend sports a DSLR and Bokeh inducing lenses.
Boken is no excuse for cinematography. And this is why the use of smartphones is a breath of fresh air. Without those boring ricks to fall back on (do we really need to see another extreme shallow depth of field close up?), every shot in this movie was thought about. Every shot had a purpose. And how great to have the wide depth of field of smartphones bring the surrounded architecture into play. Not a shot or a building was wasted.
And that's what this is all about. Instead of cinema fillers we have Netflix fillers. Who knows, just like the last time some of them may just turn out to be little gems. Soderbergh knows he'll never win any Oscars for these new b-movies. As did those movie directors of old. But he knows he'll have the freedom to make the films he wants to make and have fun doing it.
Soderbergh spoke about a new age of B-Movies. Not in the sense of second rate - but going back to the golden age of cinema, when b-movies were cinema fillers for huge audiences.
They were shot on low budgets. Often with limited lighting and not too many stars or spectacular sequences, with crowds of extras.
Instead, the director had to work around his limited means creatively, often filling a lot of the film with dialogue - as it's much cheaper to shoot: if you can't film all those scenes, you can always have one character tell another character what happened.
Be in no doubt, although a lot of those old B-movies were fillers, some were remarkable pieces of cinema. All the better for being forced into creative use of limited resources.
Indeed, this was how film noir was born. And that is very much what High Flying Bird reminded me of. Those old b-movie sports pictures which couldn't afford the big action scenes so left the sport part in the background while the action focused on the backroom talk.
I loved the cinematography. And it was absolutely refreshing to see old school camera angles instead of the tedium we get now - when every kid with a few hundred dollars to spend sports a DSLR and Bokeh inducing lenses.
Boken is no excuse for cinematography. And this is why the use of smartphones is a breath of fresh air. Without those boring ricks to fall back on (do we really need to see another extreme shallow depth of field close up?), every shot in this movie was thought about. Every shot had a purpose. And how great to have the wide depth of field of smartphones bring the surrounded architecture into play. Not a shot or a building was wasted.
And that's what this is all about. Instead of cinema fillers we have Netflix fillers. Who knows, just like the last time some of them may just turn out to be little gems. Soderbergh knows he'll never win any Oscars for these new b-movies. As did those movie directors of old. But he knows he'll have the freedom to make the films he wants to make and have fun doing it.
I don't know what it is about
Gordon-119 February 2019
This film just doesn't tell the story well. I don't understand what it is about, and the fact that all the characters talk in a cryptic manner complicates the matter further. The film had good production, but is boring and frustrating because I don't know what it is about.
Wasted budget
eugenia_loli10 November 2019
This is a rather boring movie. But hey, some might like it. The issue I have with this film is that in reality, this film could be shot for $100k. Not the $2 mil if actually cost. There is nothing special in it, it feels like the run of the mill indie film, but there were no special scenes that would require lots of money to produce. As for the actors, the director could get cheaper ones. If you want to make an iPhone movie, do it cheap. $2mil is an astronomical budget if you're shooting with a phone.
Lockout or Lookout
kosmasp10 August 2019
Jerry Maguire he isn't ... but if you were to mix that movie with a basketball inspired theme (lockout), this might be the thing you get. There are many interesting insights in between - which is weird to say. Because while this is a fictional movie based on real events, the sporadic interviews with real rookies/NBA players in itself are quite something.
They work fine, but they also might get you out of the movie. The charisma of the actors on the other hand is not at fault here. The main character, no matter how shady he may seem, is quite charismatic. The twists and turns are nice, but they don't have the power behind them you might wish for .. even when you feel they should feel important
They work fine, but they also might get you out of the movie. The charisma of the actors on the other hand is not at fault here. The main character, no matter how shady he may seem, is quite charismatic. The twists and turns are nice, but they don't have the power behind them you might wish for .. even when you feel they should feel important
sports agent with a twist
ferguson-66 February 2019
Greetings again from the darkness. Steven Soderbergh has won an Oscar for Best Director (TRAFFIC, 2002) and is one of the filmmakers who has enjoyed both Box Office success (the "Oceans" franchise) and critical acclaim (SEX, LIES, AND VIDEOTAPE, 1989). He has also been behind some quite creative TV projects ("The Knick", "Godless"), as well as many technical advancements in the industry. This latest is his second consecutive film to be shot entirely with an iPhone (UNSANE, 2018). Bluntly stated, Mr. Soderbergh beats his own drum.
Oscar winner Tarell Alvin McRaney (MOONLIGHT) wrote the script and a talented cast allowed filming to be completed in only 3 weeks ... a remarkably short production time for a feature film that is quite watchable and polished. Andre Holland (also one of the film's producers) plays Ray, a sports agent with a soul. Rarely do films portray sports agents as the smartest guy in the room, much less as one with altruistic motives. But that describes Ray - although we have our doubts at times. The film opens with Ray having a heated discussion over lunch with his newest client - hot shot rookie Erick (played by Melvyn Gregg). The NBA is in the midst of a lockout and young Erick's top pick contract has not yet been executed ... so he's in need of funds, as is Ray and the agency he works for.
Sprinkled throughout, and serving as a framing device, are talking head shots of actual NBA players Reggie Jackson, Karl Anthony Towns and Donovan Mitchell discussing the challenges of being a rookie. Their insight and perspective adds an element of reality to the tone of the film. Zazie Beetz (DEADPOOL 2) co-stars as Sam, Ray's assistant who constantly reminds him, "I don't work for you anymore", despite her exceptionally strategic maneuvering of others. Also appearing are the always interesting Bill Duke as Spencer, who runs a camp for up and coming youth players; Kyle MacLachlan as the owners' lead negotiator; Sonja Sohn as the Players Union Rep; and Zachary Quinto as Ray's boss.
Ray's work behind the scenes is misinterpreted by many, but his focus is on getting the two sides to negotiate so the strike can end. During this process, the film makes an interesting statement about who owns the players' image. Is it the league, the players' association, or the player himself? It's a legal and philosophical question that again crosses the line into real life. There is also a comical bit that takes aim at the business side of the league regarding selling sneakers and inspiring rap lyrics.
Reminiscent of other Soderbergh films, there is an emphasis on heavy dialogue and creative camera work, as well as some life lessons offered up along the way. "You care all the way or you don't care at all" is a philosophy preached by Spence, and clearly leading by example is an important element to the key characters. Toss in the music of Richie Havens, and it's quite obvious this isn't the typical inspirational, feel-good sports movie.
Oscar winner Tarell Alvin McRaney (MOONLIGHT) wrote the script and a talented cast allowed filming to be completed in only 3 weeks ... a remarkably short production time for a feature film that is quite watchable and polished. Andre Holland (also one of the film's producers) plays Ray, a sports agent with a soul. Rarely do films portray sports agents as the smartest guy in the room, much less as one with altruistic motives. But that describes Ray - although we have our doubts at times. The film opens with Ray having a heated discussion over lunch with his newest client - hot shot rookie Erick (played by Melvyn Gregg). The NBA is in the midst of a lockout and young Erick's top pick contract has not yet been executed ... so he's in need of funds, as is Ray and the agency he works for.
Sprinkled throughout, and serving as a framing device, are talking head shots of actual NBA players Reggie Jackson, Karl Anthony Towns and Donovan Mitchell discussing the challenges of being a rookie. Their insight and perspective adds an element of reality to the tone of the film. Zazie Beetz (DEADPOOL 2) co-stars as Sam, Ray's assistant who constantly reminds him, "I don't work for you anymore", despite her exceptionally strategic maneuvering of others. Also appearing are the always interesting Bill Duke as Spencer, who runs a camp for up and coming youth players; Kyle MacLachlan as the owners' lead negotiator; Sonja Sohn as the Players Union Rep; and Zachary Quinto as Ray's boss.
Ray's work behind the scenes is misinterpreted by many, but his focus is on getting the two sides to negotiate so the strike can end. During this process, the film makes an interesting statement about who owns the players' image. Is it the league, the players' association, or the player himself? It's a legal and philosophical question that again crosses the line into real life. There is also a comical bit that takes aim at the business side of the league regarding selling sneakers and inspiring rap lyrics.
Reminiscent of other Soderbergh films, there is an emphasis on heavy dialogue and creative camera work, as well as some life lessons offered up along the way. "You care all the way or you don't care at all" is a philosophy preached by Spence, and clearly leading by example is an important element to the key characters. Toss in the music of Richie Havens, and it's quite obvious this isn't the typical inspirational, feel-good sports movie.
where is the sports movie?
saskpareki15 March 2021
Not a sports movie, not a basketball movie, and it was boring and nothing actually happened to all characters in the movie.
just a guy with smart thinking tried to end the NBA lockout ...
OK but why should this be a movie? and why it has so high rating i cannot understand...
This Is Not A Basketball Movie, It's Much More
bennyantlang9 February 2019
There is very little basketball to be seen here - in fact I think there's only one scene where any characters actually play ball. But that lack of on-court action is the very point & purpose of the movie; the plot is driven by an NBA lockout wherein the players are being denied the opportunity to play the sport they love (and get paid for it), all because the "Powers That Be" feel they aren't making enough money from it themselves. This is a very real issue in modern sport, and this film seeks to confront many aspects of it; from the rich insular Establishment of western societies in general, to the very concept of human endeavour becoming a commodity for profit. And as the majority of NBA players are black and the owners white, the movie doesn't shy away from the issue of race either. Comparisons with slavery may seem heavy-handed, but the reality is that these black athletes' livelihoods are completely at the mercy of rich white men; their blood & sweat turned into dollars to fill their owners' pockets.
These are big, political issues atypical of your standard sports movie - anyone expecting a "gutsy underdog" story or a heartwarming tale of redemption through hard work & team spirit, will be sorely disappointed. This film is all about social commentary and witty dialogue, and the intentionally-underwhelming ending is clever yet pragmatic. There's no Rudy or Coach Carter to be found here; the central character has lofty ideals, but realistic expectations - he knows he's always playing someone else's game, and the rules are rigged against him.
High Flying Bird feels real, modern and urgent, in stark contrast to the feel-good dreamy nostalgia of most sports movies. Soderbergh makes his point well, and always delivers technical excellence in his filmmaking, so your appreciation of this film will depend entirely upon how interested you are in the issues it presents. But it feels like something of a landmark moment in the sports movie genre.
A Solid Attempt
kjproulx11 February 2019
I've been a fan of director Steven Soderbergh's work for years. His style is very specific and I wouldn't be surprised if he's lost some of his fans over the past few years, due to the fact that he's absolutely let his style run away with him. Other than Moneyball, there have been very few films about behind the scenes aspects of a sport that have left a lasting impact on me. I will definitely remember certain aspects of High Flying Bird, but it's not the direction that impressed me all that much. Let's dive into one of Netflix's latest feature films.
Shot entirely on an iPhone, High Flying Bird follows the true story of how an agent shopped a rookie around during the NBA lockout. While being a little shady, this leads to troubling times for some of the people involved. With a sharp script to back this story up, I found myself incredibly enthralled each and every time two or more characters were conversing in a room together. The highlight of this film is easily the screenplay written by Tarell Alvin McCraney.
Only having a previous credit for the story of the film Moonlight, after watching High Flying Bird, I feel confident in making the leap and calling McCraney a writer to seek out in the future. I will be looking forward to anything he puts his hands on because the quick dialogue nearly reminded me of an Aaron Sorkin script. For that reason alone, I was glued to the screen. This may seem biased, but the reason I liked certain aspects of this film so much, is simply due to the fast-paced, witty dialogue.
Soderbergh does a great job in the director's chair as always, but the notion of releasing an entire feature film for a wide audience to see, having been shot on an iPhone, is a risky move. It's not his first try at this, but it's quite noticeable. From the way certain scenes are lit to the way that exposure has yet to be perfected in smartphones, I personally found myself disconnected with the movie as a whole. If it wasn't for the screenplay keeping me hooked on the story, I would've been too distracted by the cinematography here.
In the end, High Flying Bird serves as a solid attempt in putting together a film in this way but ultimately doesn't feel right visually. André Holland delivers the best performance I've ever seen him give and Melvin Gregg, along with Zazie Beetz, support him very well. I'll always like the look and style of a Soderbergh film, but this one didn't quite do it for me. Although I was distracted by the overall feel of this movie, the story itself and the dialogue within it, was far superior to anything else. For that reason, I can give this movie a recommendation, but there may be a partial bias within that recommendation.
Shot entirely on an iPhone, High Flying Bird follows the true story of how an agent shopped a rookie around during the NBA lockout. While being a little shady, this leads to troubling times for some of the people involved. With a sharp script to back this story up, I found myself incredibly enthralled each and every time two or more characters were conversing in a room together. The highlight of this film is easily the screenplay written by Tarell Alvin McCraney.
Only having a previous credit for the story of the film Moonlight, after watching High Flying Bird, I feel confident in making the leap and calling McCraney a writer to seek out in the future. I will be looking forward to anything he puts his hands on because the quick dialogue nearly reminded me of an Aaron Sorkin script. For that reason alone, I was glued to the screen. This may seem biased, but the reason I liked certain aspects of this film so much, is simply due to the fast-paced, witty dialogue.
Soderbergh does a great job in the director's chair as always, but the notion of releasing an entire feature film for a wide audience to see, having been shot on an iPhone, is a risky move. It's not his first try at this, but it's quite noticeable. From the way certain scenes are lit to the way that exposure has yet to be perfected in smartphones, I personally found myself disconnected with the movie as a whole. If it wasn't for the screenplay keeping me hooked on the story, I would've been too distracted by the cinematography here.
In the end, High Flying Bird serves as a solid attempt in putting together a film in this way but ultimately doesn't feel right visually. André Holland delivers the best performance I've ever seen him give and Melvin Gregg, along with Zazie Beetz, support him very well. I'll always like the look and style of a Soderbergh film, but this one didn't quite do it for me. Although I was distracted by the overall feel of this movie, the story itself and the dialogue within it, was far superior to anything else. For that reason, I can give this movie a recommendation, but there may be a partial bias within that recommendation.
Weak excuse for a film...wannabe creativity
kevgperry23 February 2019
Weak story....Annoying wide angle on everyshot. Weak attempt at creativity. Now that I know it was shot on an iphone makes it worse. Loved Traffic...not sure what they were going for here and not sure why the favorable reviews but I wasnt impressed in the slightest. If he had a 2 million budget not sure why the use of an iPhone. Its not like a red camera is all that expensive. Visuals were impressive for being an iphone but another example of people paying more attention to the medium than on telling a good story.
A Social Issues Film; Not a "Basketball Movie"
thomasemoran13 February 2019
If you're going into this expecting some cookie-cutter underdog basketball film that telegraphs its plot from the opening scene, you are going to be disappointed. However, if you are going into this looking for a film that actually addresses and comments on society and social issues in a poignant and intelligent way, you will find that. Many reviews are complaining that they "didn't understand" or "don't get it" or didn't understand some of the references. That's kind of the point. If you know about these things, the film is masterful at examining the power dynamic and sparking criticism of the structure in American professional athletics. If you don't know about the content in the film, now you know which questions to ask and where to look for more information to be able to understand them.
But no, it isn't like Above the Rim, Coach Carter, Glory Road, or Hoosiers. It's nothing like that, and it doesn't present itself as such. It isn't a film about playing basketball; it is a film about the inherent flaws in the system in which basketball is played--and why it is designed to be that way.
But no, it isn't like Above the Rim, Coach Carter, Glory Road, or Hoosiers. It's nothing like that, and it doesn't present itself as such. It isn't a film about playing basketball; it is a film about the inherent flaws in the system in which basketball is played--and why it is designed to be that way.
An unconventional modern sports movie
cardsrock14 February 2019
As an avid basketball fan, it was fascinating to see a film about an aspect of the sport so rarely depicted. While it isn't quite as captivating as say Moneyball, High Flying Bird is still an interesting and meaningful film. Steven Soderbergh continued his use an iPhone to film and it actually worked pretty well for the intended aesthetic of this film. The question of who truly owns the game isn't necessarily answered in this movie, but it does shake things up a little and will hopefully lead to some productive dialogue in the future.
Tedious..
bluefoxniner9 February 2019
Missed opportunity to create an NBA answer to the under rated " Draft Day".
Boring, tedious and utterly pointless. Decent cast, absolutely horrible to watch. "Literally nothing happens. Don't give up your time watching garbage like this.
Boring, tedious and utterly pointless. Decent cast, absolutely horrible to watch. "Literally nothing happens. Don't give up your time watching garbage like this.
A movie about basketball, with no basketball.
philipposx-122908 February 2019
There are obviously parts and scenes where you can see Steven Soderberghs technical virtuosity, the stale camera angles, or the slowly moving wide shots. It feels like a very professional movie, ironically shot on an iPhone. The acting itself also is quite convincing.
But I could not get anything out of this movie. It's a movie about basketball, that has no basketball in it. It has an idea but it does not have characters. You don't care about the characters because they simply aren't engaging. They don't have organic character arcs, or come to a satisfying conclusion. The script is fine, but mostly doesn't help the movie become compelling or interesting in any way. It just.. moves along.
There is one main message. Basketball leagues are controlled by white capitalists, although black people are the main players. The idea behind "beating" this game over the game may be interesting in itself. I left this movie with nothing, except the feeling of having seen some clever shots and some politics. But it should have been more of a documentary instead of a 90-minute drama.
Netflix movies are continuing to disappoint.
But I could not get anything out of this movie. It's a movie about basketball, that has no basketball in it. It has an idea but it does not have characters. You don't care about the characters because they simply aren't engaging. They don't have organic character arcs, or come to a satisfying conclusion. The script is fine, but mostly doesn't help the movie become compelling or interesting in any way. It just.. moves along.
There is one main message. Basketball leagues are controlled by white capitalists, although black people are the main players. The idea behind "beating" this game over the game may be interesting in itself. I left this movie with nothing, except the feeling of having seen some clever shots and some politics. But it should have been more of a documentary instead of a 90-minute drama.
Netflix movies are continuing to disappoint.
Soderbergh flies high with his iPhone!
AhmedSpielberg9914 February 2019
Not my cuppa tea, as I expected. But I just wanted the movie to be more engaging for me in a way or another. Maybe more delving into the characters, or more focus on the rivalry the movie gave me a glimpse of would have made me more intrigued. That said, High Flying Bird is a quite solid sports movie that further proves that Soderbergh's new filmmaking technology works pretty well, and that he has plenty of buttons to push using this tech. It also proves that André Holland has a massive talent that should not be underestimated.
(7/10)
(7/10)
A little more style than story
cliftonofun5 June 2019
This film is interesting, not just because it was shot entirely on iPhones, but also because it is a different type of model for film making - a small cast, limited sets, and a simple story...but yet this sense that it is a bigger production in budget and scope. It is like Soderberg wanted to show us what movie making could become. Thankfully, the cast is great and the concept is intriguing (plus, the director could make just about anything compelling). The problem is that the script is just a little too convenient. The machinations and plot jumps made a point, but they did not make sense. So I was intrigued, but wished that the story would have lived up to the style.
Social issues trump any hoop
wickedmikehampton26 December 2019
The well-written dialogue between a small cast ensures that the masses will miss it, but among the intellectuals it will be a polish gem. I've no interest in basketball so it's just as well I consider it to be a metaphor breeding dissatisfaction searching for a better, less neo-capitalistic future.
Different than expected
Floated219 January 2021
Being a fan of Steven Soderbergh and enjoying many of his previous films, having not relatively been completely familiar with this film wen it was released but then so deciding to give it a watch. It was much different than had initially expected and for this reason quite worse.
By reading its plot description, expected something like "Draft Day" but the basketball version. What this film was is focusing more on the business side of the sport where it sort of felt like a documentary. Most of the scenes were one-on-one conversations from agents, clients, coaches or assistants. This isn't a sports film like most might assume. And for this reason is why many of these reviews consider the film to be boring- because they simply expected different (most likely a film showcasing basketball). This was just a lot of talking.
By reading its plot description, expected something like "Draft Day" but the basketball version. What this film was is focusing more on the business side of the sport where it sort of felt like a documentary. Most of the scenes were one-on-one conversations from agents, clients, coaches or assistants. This isn't a sports film like most might assume. And for this reason is why many of these reviews consider the film to be boring- because they simply expected different (most likely a film showcasing basketball). This was just a lot of talking.
NBA owners won't like this
zack_gideon8 February 2019
Current events in the NBA are prophetically laid out in this concise film that extracts a lot out of it in a run time of 90 minutes. I won't go into spoiler detail but the construction of the plot is unique in many ways and I can't think of another film like it.
Some viewers will find it boring because there really isn't any basketball being played. I liked it because of that, because the plot doesn't need it. There is much relevancy on how the media landscape is changing and in turn changing the dynamics of the NBA (owner/GM vs players). I'm a big sports fan and I've noticed this from a long way out. That's the real point of this movie in my opinion.
It'll get mixed reviews and probably some 1 votes. That's okay, the message is right on and empowering, and the acting helps convey that. There are some religious plot lines too but it doesn't take away from anything and will add to the story for some viewers. Enjoy!
Some viewers will find it boring because there really isn't any basketball being played. I liked it because of that, because the plot doesn't need it. There is much relevancy on how the media landscape is changing and in turn changing the dynamics of the NBA (owner/GM vs players). I'm a big sports fan and I've noticed this from a long way out. That's the real point of this movie in my opinion.
It'll get mixed reviews and probably some 1 votes. That's okay, the message is right on and empowering, and the acting helps convey that. There are some religious plot lines too but it doesn't take away from anything and will add to the story for some viewers. Enjoy!
Talk-heavy, fast-paced and an intellectual effort above all else
Movie_Muse_Reviews6 March 2019
Nobody quite knows what Steven Soderbergh is doing, but his projects sure are interesting. "High Flying Bird," shot speedily on an iPhone and released on Netflix, is a dialogue-forward fast-talking business movie set during a pro-basketball lockout. In other words, it's in its own category of "sports movie."
The core of "High Flying Bird" is a verbally sizzling script from Tarell Alvin McCraney, the playwright known best for turning a drama school project into the Oscar-winning screenplay for "Moonlight" in 2016. McCraney's theatre background will help clarify why 90 percent of "High Flying Bird" is conversations in restaurants and office buildings. The film very intentionally deprives its audience of the kinetic pleasures of a sports movie, choosing to focus on the strategy side, enforcing the common cliché that "sports is a business."
Perhaps a better way to frame the movie is that it wants to focus on athletes as people. To enforce this notion, Soderbergh filmed interviews with a few NBA players, most of whom recently entered the league, asking them about the experiences and lessons learned from their transition to the pros. He divides the story up and fills these interviews in to remind audiences that while the movie is fiction, the scenarios and challenges in it are very real.
André Holland, who had a supporting role in "Moonlight," stars as Ray, a top sports manager who has landed himself the number one overall draft pick, Erick Scott (Melvin Gregg), as a client. With the players association and the league locked out, however, players aren't getting paid, which leads Erick to make some short-sighted decisions that could jeopardize his first rookie contract.
The story begins extremely business-like in its approach to the subject matter and slowly reveals the bigger picture at hand, though it remains intellectual in its primary function as a story. The script hints at more emotional subplots, specifically past traumas of its characters, but empathy is largely in short supply. For as smart as it is, however, it feels rushed. You keep waiting for it to change gears and offer something different, but it has a single tone and pace, one that it does extremely well thanks to Soderbergh's naturally sleek style, but nevertheless, it's singular in vision.
Soderbergh's involvement in the film feels less about his direction and more about getting this project financed. The film has points to make, points that are complex and compelling about athletes and the systems that contain them, but they aren't given a lot of time to sink in.
There's a lot of Aaron Sorkin in this film. Sorkin writes scripts that are intellectually stimulating with a pulsing rhythm, that are on to the next witty exchange before you can appreciate the previous one. It's a film that feels smarter than you, that you have to rise up to meet. That's largely the entertainment factor that we get from "High Flying Bird." The Soderbergh-McCraney pairing has that explosive dynamism to it, but the film consciously limits the breadth of what it can offer audiences.
Steven C
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The core of "High Flying Bird" is a verbally sizzling script from Tarell Alvin McCraney, the playwright known best for turning a drama school project into the Oscar-winning screenplay for "Moonlight" in 2016. McCraney's theatre background will help clarify why 90 percent of "High Flying Bird" is conversations in restaurants and office buildings. The film very intentionally deprives its audience of the kinetic pleasures of a sports movie, choosing to focus on the strategy side, enforcing the common cliché that "sports is a business."
Perhaps a better way to frame the movie is that it wants to focus on athletes as people. To enforce this notion, Soderbergh filmed interviews with a few NBA players, most of whom recently entered the league, asking them about the experiences and lessons learned from their transition to the pros. He divides the story up and fills these interviews in to remind audiences that while the movie is fiction, the scenarios and challenges in it are very real.
André Holland, who had a supporting role in "Moonlight," stars as Ray, a top sports manager who has landed himself the number one overall draft pick, Erick Scott (Melvin Gregg), as a client. With the players association and the league locked out, however, players aren't getting paid, which leads Erick to make some short-sighted decisions that could jeopardize his first rookie contract.
The story begins extremely business-like in its approach to the subject matter and slowly reveals the bigger picture at hand, though it remains intellectual in its primary function as a story. The script hints at more emotional subplots, specifically past traumas of its characters, but empathy is largely in short supply. For as smart as it is, however, it feels rushed. You keep waiting for it to change gears and offer something different, but it has a single tone and pace, one that it does extremely well thanks to Soderbergh's naturally sleek style, but nevertheless, it's singular in vision.
Soderbergh's involvement in the film feels less about his direction and more about getting this project financed. The film has points to make, points that are complex and compelling about athletes and the systems that contain them, but they aren't given a lot of time to sink in.
There's a lot of Aaron Sorkin in this film. Sorkin writes scripts that are intellectually stimulating with a pulsing rhythm, that are on to the next witty exchange before you can appreciate the previous one. It's a film that feels smarter than you, that you have to rise up to meet. That's largely the entertainment factor that we get from "High Flying Bird." The Soderbergh-McCraney pairing has that explosive dynamism to it, but the film consciously limits the breadth of what it can offer audiences.
Steven C
Thanks for reading! Visit Movie Muse Reviews for more
Not really as profound as it pretends to be.
thebricks9 February 2019
Typical Soderbergh movie. The basic gist of the film is, an NBA lockout has been going on for six months, a player who was a number one first round draft pick hasn't gotten a paycheck yet and is struggling to survive off predatory loans until everything is over. His agent, Ray Burke is trying to help him get through this all while fighting off his higher-ups within the sports agency who want to ditch the NBA for the NHL, which would probably cost him his job.
There's a bit more to the plot than this, including how Ray supposedly ends the lockout, how supposedly players are exploited by racist owners and the NBA, which is just a bizarre thing to imply, given that there is a player's union and no shortage of companies ready to endorse players. Everything the movie tries to sell the audience falls apart in the last ten minutes or so, when Soderbergh shows his cards and basically reveals this movie really is about wealthy, privileged African-Americans...fighting against racial injustice? Excuse me, what? I'm supposed to feel sorry for pro athletes who will make as much as $30 million a year or more plus endorsements? Even a bench player on minimum salary makes like $500K a year. The agents make millions. In one scene, Ray triumphantly shows up his boss, tells him he's going to take his job and walks out triumphantly like he just stuck it to the man. The whole scene is just so ridiculous and unbelievable it defies logic. Who would be ridiculous enough to give up the NBA's business because of a lockout to begin with? LOL. Especially one that was coming to an end? I would go into more of the plot, but I won't for the sake of spoilers.
The whole movie just wasn't fun. It had an agenda from the very beginning. Soderbergh, as usual, tries to sell his story with well-shot scenes in fancy restaurants, offices and coffee shops, actors rattling off dialogue so fast it doesn't allow the audience to understand who exactly individual characters are or what they do. The details of the plot are hard to gather and understand until the plot twist is revealed and then from there, it all falls apart and becomes simplistic agenda-based drivel. It's one thing to pretend to be a sophisticated movie, another to break down and reveal your real agenda was about racism, which most viewers of this film are unlikely to take seriously. The real problem with the majority of players is never examined, particularly how little many of them take education seriously. Before anyone tries to dispute anything I've said about this, I've dealt with this firsthand and know what I'm talking about.
Soderbergh is a slightly more likable version of Aaron Sorkin. I enjoy his movies occasionally but I don't trust people in general who think it is a badge of honor to be the smartest one in the room. He seems to have a complex about this that carries over to the characters in his movies; anyone he likes is always the clever one with a trick up their sleeve to outsmart someone. The bad guys are smart but never as smart as the good guys. Everyone else is just some lovable goof who needs other people to hold their hands to get through life. This is basically every movie he makes and it's annoying. Cut out the last scene and maybe this movie would get a lot better.
There's a bit more to the plot than this, including how Ray supposedly ends the lockout, how supposedly players are exploited by racist owners and the NBA, which is just a bizarre thing to imply, given that there is a player's union and no shortage of companies ready to endorse players. Everything the movie tries to sell the audience falls apart in the last ten minutes or so, when Soderbergh shows his cards and basically reveals this movie really is about wealthy, privileged African-Americans...fighting against racial injustice? Excuse me, what? I'm supposed to feel sorry for pro athletes who will make as much as $30 million a year or more plus endorsements? Even a bench player on minimum salary makes like $500K a year. The agents make millions. In one scene, Ray triumphantly shows up his boss, tells him he's going to take his job and walks out triumphantly like he just stuck it to the man. The whole scene is just so ridiculous and unbelievable it defies logic. Who would be ridiculous enough to give up the NBA's business because of a lockout to begin with? LOL. Especially one that was coming to an end? I would go into more of the plot, but I won't for the sake of spoilers.
The whole movie just wasn't fun. It had an agenda from the very beginning. Soderbergh, as usual, tries to sell his story with well-shot scenes in fancy restaurants, offices and coffee shops, actors rattling off dialogue so fast it doesn't allow the audience to understand who exactly individual characters are or what they do. The details of the plot are hard to gather and understand until the plot twist is revealed and then from there, it all falls apart and becomes simplistic agenda-based drivel. It's one thing to pretend to be a sophisticated movie, another to break down and reveal your real agenda was about racism, which most viewers of this film are unlikely to take seriously. The real problem with the majority of players is never examined, particularly how little many of them take education seriously. Before anyone tries to dispute anything I've said about this, I've dealt with this firsthand and know what I'm talking about.
Soderbergh is a slightly more likable version of Aaron Sorkin. I enjoy his movies occasionally but I don't trust people in general who think it is a badge of honor to be the smartest one in the room. He seems to have a complex about this that carries over to the characters in his movies; anyone he likes is always the clever one with a trick up their sleeve to outsmart someone. The bad guys are smart but never as smart as the good guys. Everyone else is just some lovable goof who needs other people to hold their hands to get through life. This is basically every movie he makes and it's annoying. Cut out the last scene and maybe this movie would get a lot better.
High Flying Bird is a landmark movie in the sports-drama genre
svhot20 February 2019
Warning: Spoilers
I was amazed and very happy after watching this movie titled "High Flying Bird". There are a lot of reasons why I was impressed with this new sports-drama film. I can go on and on about it, but I will try to mention a few main lessons the movie is trying to teach ; and the very real problems in the world of sports that this movie is boldly attempting to highlight.
First of all, I have to mention the fact that this movie belongs totally to the director Steven Soderbergh (of the "Ocean's 11, 12 fame). Mr. Soderbergh has made a very intelligent and realistic movie indeed. "High Flying Bird" shines brightly and brilliantly in terms of its social commentary on the commercialization of sports (in this movie, the sport being dealt with is basketball), racism in sports, and this film has got very powerful, witty dialogues.
All actors have given good performances in their respective roles. Please note, this movie is trying to highlight the real problems faced by professional sports players. If you want to watch a sports-drama flick that showcases a tale of redemption and victory, then watch something else. This movie is an intelligent film that deals with actual problems that exist in sports.
First of all, I have to mention the fact that this movie belongs totally to the director Steven Soderbergh (of the "Ocean's 11, 12 fame). Mr. Soderbergh has made a very intelligent and realistic movie indeed. "High Flying Bird" shines brightly and brilliantly in terms of its social commentary on the commercialization of sports (in this movie, the sport being dealt with is basketball), racism in sports, and this film has got very powerful, witty dialogues.
All actors have given good performances in their respective roles. Please note, this movie is trying to highlight the real problems faced by professional sports players. If you want to watch a sports-drama flick that showcases a tale of redemption and victory, then watch something else. This movie is an intelligent film that deals with actual problems that exist in sports.
Classic Soderbergh
jaycop10 February 2019
Good film and a really good film if you appreciate Soderbegh's style. The use of camera shots, colors, and locations of scenes. You can't always put your finger on it but after you find out who directs the film you have the Ah- Ha moment.
The Revolt of the Filmmaker
Cineanalyst24 July 2021
Lots of dull opaque talking in "High Flying Bird" to ultimately turn contract negotiations between millionaires and billionaires--not exactly "Norma Rae" (1979) this, let alone worthy of all the salvery references--into Steven Soderbergh's favorite genre, the con or heist flick, which in this case mostly boils down to a character revealing and reveling in how much smarter he is than are others and some message that pertains to a very select number of people, the professional black athlete. Documentary interviews with NBA players interrupt the drama, too, to lend advice to rookie basketballers. Makes me wonder why this is streaming on Netflix and not exclusively at NBA Orientation Days. For whom is this movie supposed to be?
For director Soderbergh himself, perhaps. He's one of the brightest at exploiting the fundamental importance of the cinematographic apparatus within his oeuvre--even being his own cinematographer, editor and so on. His breakthrough film, after all, listed a medium of motion pictures in its title, "Sex, Lies and Videotape" (1989). If anyone is going to make movies with a phone camera that are indirectly about making movies with a phone camera, it'd be him. I haven't seen "Unsane" (2018) yet, being generally not in a rush to see movies shot with an iPhone, but I have seen his latest phone heist of some of Hollywood's top actors, "No Sudden Move" (2021). There, the camera was fit with a distorting wide-angle lens that reflected visually the narrative involving automobiles--and did so by way of the reflective device in cars, the rear-view mirror. It may also allude to the past obfuscation involved in the genre plotting and its historical setting.
It follows, then, that Soderbergh may've shot "High Flying Bird" as a comment on another industry, that of making movies. Nominally, the narrative concerns undermining NBA owners by way of new technology and forms of communication to bring basketball to its fans and, thus, wrestle away control for the players, or their agents. Congruous for an independent movie shot with a mobile phone and released on Netflix, if not for the racial issues it raises as written by Tarell Alvin McCraney (also of "Moonlight" (2016)). He doesn't even show us the film-within-the-film, the one-on-one basketball game, because this isn't about a movie, or the story in it, but about how movies are made. The suggestion is that Soderbergh is changing the way the game, or rather the game on top of the game, is played.
He may be right. The anti-studio, anti-actual-film progenitor of a new era of independent and digital cinema has been before. Hopefully, at least, these phone movies will become better looking--that Soderbergh will not overlook keeping a shaky shot from the table that apparently holds the phone stand being bumped, or a distracting and odd-looking lens flare in another, and get better lenses in general. Everything is in focus in these shots, which is distracting, as anything and nothing consequently become the focus. As if the drama for millionaires weren't already irrelevant enough, too. And, I like meta movies generally, but this one seems overly self-satisfied looking in the mirror--the cinematic equivalent of a selfie.
For director Soderbergh himself, perhaps. He's one of the brightest at exploiting the fundamental importance of the cinematographic apparatus within his oeuvre--even being his own cinematographer, editor and so on. His breakthrough film, after all, listed a medium of motion pictures in its title, "Sex, Lies and Videotape" (1989). If anyone is going to make movies with a phone camera that are indirectly about making movies with a phone camera, it'd be him. I haven't seen "Unsane" (2018) yet, being generally not in a rush to see movies shot with an iPhone, but I have seen his latest phone heist of some of Hollywood's top actors, "No Sudden Move" (2021). There, the camera was fit with a distorting wide-angle lens that reflected visually the narrative involving automobiles--and did so by way of the reflective device in cars, the rear-view mirror. It may also allude to the past obfuscation involved in the genre plotting and its historical setting.
It follows, then, that Soderbergh may've shot "High Flying Bird" as a comment on another industry, that of making movies. Nominally, the narrative concerns undermining NBA owners by way of new technology and forms of communication to bring basketball to its fans and, thus, wrestle away control for the players, or their agents. Congruous for an independent movie shot with a mobile phone and released on Netflix, if not for the racial issues it raises as written by Tarell Alvin McCraney (also of "Moonlight" (2016)). He doesn't even show us the film-within-the-film, the one-on-one basketball game, because this isn't about a movie, or the story in it, but about how movies are made. The suggestion is that Soderbergh is changing the way the game, or rather the game on top of the game, is played.
He may be right. The anti-studio, anti-actual-film progenitor of a new era of independent and digital cinema has been before. Hopefully, at least, these phone movies will become better looking--that Soderbergh will not overlook keeping a shaky shot from the table that apparently holds the phone stand being bumped, or a distracting and odd-looking lens flare in another, and get better lenses in general. Everything is in focus in these shots, which is distracting, as anything and nothing consequently become the focus. As if the drama for millionaires weren't already irrelevant enough, too. And, I like meta movies generally, but this one seems overly self-satisfied looking in the mirror--the cinematic equivalent of a selfie.
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