‘The Beanie Bubble.’ Rated R for language. There’s still a lot of nostalgic appeal and some enlightening economic theory threaded through this film. (The lone exception, ironically, is Warner himself, who shows a lot of different facets.) The performances are so lively that not until the second hour is it clear that these women are all going to be defined by how they relate to Warner. The snappy pace and colorful style - so attractive at first - later become alienating, keeping nearly all the characters locked into one dimension. “The Beanie Bubble” eventually runs out of steam. At its best, “The Beanie Bubble” is a cautionary tale about how wealth, power and prestige can foster delusions of grandeur, and can insulate people from the their most damaging failures. become an internet presence.Īll three women eventually become disillusioned, as Warner proves pathologically unable to share anything - not shares in the business, not the credit for its success, and not his life. The scrambled chronology lets Gore and Kulash quickly introduce their three leading ladies: Robbie ( Elizabeth Banks), Warner’s on-again-off-again girlfriend and business partner Sheila ( Sarah Snook), a single mother whose kids inspire some of Warner’s best ideas and Maya ( Geraldine Viswanathan), a bright college student who helps Ty Inc. The early scenes paint Warner as a benign genius, with a flair for presentation and a knack for making everyone around him feel like a part of a winning team. In the film’s first half-hour, all the zooming around adds excitement, re-creating some of the buzz of the Beanie Baby frenzy. toy magnate Ty Warner ( Zach Galifianakis). The rise and fall of the 1990s Beanie Baby craze is seen through the eyes of three women in “The Beanie Bubble,” a kaleidoscopic dramedy loosely based on Zac Bissonnette’s book “The Great Beanie Baby Bubble: Mass Delusion and the Dark Side of Cute.” Writer-director Kristin Gore and her husband and co-director, Damian Kulash (the lead singer of the band OK Go), bounce back and forth between the 1980s and ‘90s, spending just as much time revisiting the fashions, music, politics and cultural trends as they do telling their version of the story of the Ty Inc.
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