Breakthrough
Please excuse our lateness of this review! We are covering every Academy Award nominee of 2020, so we’re cleaning up the films we forgot to critique earlier.
Look. I don’t want to be savagely harsh on a film that is meant to celebrate the incredible true story of a seemingly-unbeatable fate. The Smith family went through a miraculous process, where son John was declared soon-to-be-dead after he was trapped under ice for fifteen minutes (and had drowned trying to stay afloat). Not every film is meant to be thought provoking or entertaining, and faith based works (as by-the-numbers as they may be) serve a purpose to that religious group (in this case, Christian). Breakthrough is a healing process for the Smith family, and a reaffirmation of one’s belief of a higher power. It’s just extremely heavy handed nonetheless, and I’m reviewing a film as a neutral viewer. This tale of determination feels so much like a public service announcement at times, and it can be highly distracting when it comes to appreciating this true story.
The actual rescue sequence is reasonably well done, with all of the best intentions in mind. John’s long time in hospital are still somewhat captivating, despite their length (at least two thirds of the film are based on hospital visitations, and the community reacting to this accident). It’s the opening and closing moments that really hurt Breakthrough. The first act feels like a Ted Turner cautionary tale that tries to fit in with today’s youth but fails horrendously so. This is also hurt a bit by one of my favourite basketball players Stephen Curry, who helped produce this film. I have your shoes, Curry. You’re the greatest shooter of all time. I know what your religion means to you. The obvious self-promotion for the first ten minutes or so of the film just feels awkward, man. I’m saying this with love. It’s just uncomfortable having a lead character parade the accomplishments of a producer like that. I know that isn’t why you came on board. It’s just strange to see.
The Smith family praying before their meal.
The ending also brushes past a lot of what you’d think Breakthrough would dig into. We see bullies acting like complete dicks after a boy escaped death, but it’s dealt with so quickly, it feels mean spirited and completely unnecessary; including more of John’s recovery time, and reentry back into school life would have made a moment like this make more sense. The first part of the film tries too hard (imagine a scene where church goers are dancing to auto tuned pop-rap about religion. Yeah… that’s only part of it), and the ending tries too little (when it should be deemed highly important when it comes to celebrating this event). Breakthrough is not made for critics. It’s for a specific audience. I get that. If it seems like it would help you in any way, ignore my unpleasant ways.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.