The protracted and complicated contractual wrangling over the rights to license an early video game in various territories might not, at first glance, seem like an obvious subject for a political thriller. But in this tall tale about the knotty negotiations to secure Tetris for Nintendo’s Game Boy, the path is obstructed by treacherous KGB operatives, Machiavellian billionaires, blackmail and bribery. There’s even a car chase. The real-life peril might have been beefed up in this picture, which has the slightly desperate tone of a film that is frantically overcompensating in order not to come across as boring.
Director Jon S Baird (Stan & Ollie) harnesses the graphic style and plinky plonk music of 80s computer games to amusing effect. But ultimately, if the film is entertaining – and it is, sporadically at least – it’s as much to do with the reliably engaging Taron Egerton in the central role of embattled businessman Henk Rogers, as it is with the wiretaps, honey traps and sneering Soviet security forces.
The protracted and complicated contractual wrangling over the rights to license an early video game in various territories might not, at first glance, seem like an obvious subject for a political thriller. But in this tall tale about the knotty negotiations to secure Tetris for Nintendo’s Game Boy, the path is obstructed by treacherous KGB operatives, Machiavellian billionaires, blackmail and bribery. There’s even a car chase. The real-life peril might have been beefed up in this picture, which has the slightly desperate tone of a film that is frantically overcompensating in order not to come across as boring.
Director Jon S Baird (Stan & Ollie) harnesses the graphic style and plinky plonk music of 80s computer games to amusing effect. But ultimately, if the film is entertaining – and it is, sporadically at least – it’s as much to do with the reliably engaging Taron Egerton in the central role of embattled businessman Henk Rogers, as it is with the wiretaps, honey traps and sneering Soviet security forces.