Those moviegoers who are drawn to stories about work dramas and their clash of egos will probably want to watch Super Pumped: Battle for Uber (2022), with whom Brian Koppelman and David Levinwriters sandals (1998) Judge (2003) or 13 Ocean’s Friends (2007), tell Showtime about the fate of a controversial mobile service company hated by taxi drivers around the world.
The plot of what happens in successful technology companies reminds us of those of Social network (2010) or Stop and ignite (2014-2017), but the scripts lack the wit of Aaron Sorkin written for David Fincher’s Facebook film and the emotional force of the scripts written by Christopher Cantwell and C. Rogers for their Joe Macmillan series by Lee Pace and Co.
With an energetic visual style and a supposedly powerful set of wording, Brian Koppelman and David Levien aim to get closer to sentences like the two mentioned, but their No you can talk to these referents. And not because this couple did not show good work in billions (since 2016) to hook the viewer with the big words of their main characters. But here they fail, and that’s it.
‘Super Pumped: Battle for Uber’ entertains but doesn’t make you fall in love
There is some flashes of eloquence no doubt from time to time, but it’s not a habit super pumped during the first seven chapters. And Joseph Gordon-Levitt struggles to play asshole Travis Kalanick, but the scripts he provided don’t help him achieve the same level of charisma as Jesse Eisenberg’s Mark Zuckerberg or the aforementioned Joe MacMillan.
However, the series by Brian Koppelman and David Levien achieves two goals: first, be interested in clashes in which Uber must find a way to stay afloat as an innovative company; and on the other hand, that we support its founder and oppose his powerful opponents, although in the end he turns out to be a very unpleasant guy.
Because the writers Super Pumped: Battle for Uber They know how to sell us their story as a story those who fight for technological progress against the usual reactionary forces; just as with the Luddites of the nineteenth century, who tried to make as many mechanical looms as they could get from tapioca, or the owners of cars and stagecoaches involved in rail or road transport, because they were going against their usufruct.
Both Brian Koppelman and David Levien don’t fiddle around, but bring in straight talk about it from the mouth of Travis Kalanick, and then we actually find enough glibness to buy it without question. But super pumped does not stop there, but jumps to mercantile and internal confrontations, a less attractive concept due to more inconsequential eloquence, but what entertains.
In the end, we do not regret that we devoted our time to this.
Flamboyant montages to ease lengthy processes are not surprising, but we were pleased, as well as the occasional use of graphic and video game images and the breaking of the fourth wall. However, the true visual and narrative success of this Showtime series lies in a simple detail. Fictions by Travis Kalanick by Joseph Gordon-Levitt which end in chromatic green and an immediate recognition of reality.
Electronic soundtrack composed for Super Pumped: Battle for Uber young Brendan Angelides, who previously contributed to the aforementioned billions wave for thirteen reasons (2017-2020), corresponds to the class dynamic music with a clear technological bouquet which we are used to in this type of argument. From those, Social network D Stop and ignitealready mentioned so far Steve Jobs (2015) or A circle (2017).
This first anthology season improve as you go and, as for “War” (1×03), the momentum is kept at a certain level in its preparation, and the reasonable doubts that the public may have had before the seventh and final episode should disappear. And although we know super pumped he moves away from the mirrors in which he looks at himself, not regretting that he swallowed.
Source: Hiper Textual
