The term “I know it when I see it” was coined by Supreme Court Justice Potter Stewart when it came to identifying what obscene, pornographic material in Jacobellis v. Ohio was, but what does a Supreme Court case from 1964 have to do with Ben Affleck‘s fifth-directorial film concerning Nike’s effort to sign Michael Jordan for an exclusive shoe line that would revolutionize sports marketing and merchandising? It has to do with the notion of the classic “dad movie” and how films like Ford v Ferrari (2019) or Moneyball (2011), and now similarly, Air (2023), fit into that mold that naturally feels like the kind of movies dads would enjoy watching.

It can be hard to ascertain what fits into a classic dad movie. In the broadest sense, the line relates to recognizing the mid-budgeted dramas that are inspired by the unlikely underdog going against the status quo by personifying that can-do spirit that stimulates a prevailing Americana ethos. In Air, it’s manifested by a down-on-his-luck sports marketing executive signing on a rookie who would become one of the greatest basketball players in history. Yet, instead of a climactic basketball tournament that will feature a will-they-or-won’t-they-win suspense, it’s a series of phone calls and fiery conversations in drab, low-lit rooms by middle-aged people creating a shoe line that can sell. Not normally a dad movie in classic fashion, but Affleck delivers a slick, entertaining film impassioned by a love for adult dramas.

In the world of sports footwear in 1984 America, Nike saw itself as third-ranked, way below its competition of Converse and Adidas in terms of market share. The basketball division has no star players, working with a budget of a pithy $250,000, with Nike CEO Phill Knight (Ben Affleck) ready to eliminate the division unless their basketball guru, Sonny Vaccaro (Matt Damon), can find some valuable players to boost their sales. Sonny is surrounded by a supportive team in Rob Strasser (Jason Bateman), Nike’s VP of Marketing, and his more successful colleague, Howard White (Chris Tucker), but he struggles to acclimate to the limitations Nike has for his sensibilities.

After endless tape watches of potential players, he witnesses Jordan’s infamous 1982 NCAA clutch shot that brought North Carolina to victory over Georgetown at the age of 19. Sunny replays this footage. First out of curiosity, then he is transfixed by what this first-year student was able to do that has made a lasting impact. Sunny realizes he’s witnessing an all-time champion and decides to embark on a once-in-a-lifetime bet to allocate all of Nike’s budget to acquiring the sponsorship of Michael Jordan. However, as Jordan and his family seem to gravitate to Nike’s competitors, Sunny takes an unorthodox approach by speaking with Jordan’s family, specifically his mother, Deloris Jordan (Viola Davis). Deloris is in charge of protecting Michael’s interest and is strong-willed and confident in what her son means, not just to corporations hoping to have a piece of his success but to the millions of fans that Michael affects. 

Whether it’s the Ford corporation taking on Ferrari in the 1966 24 Hours of Le Mans or Billy Bean reinventing baseball talent scouting & player analysis with the Oakland A’s 2002 season, there is a template that Air adheres to that makes it successful if not, equally entertaining, as the previous films mentioned. Sunny is passionate but is limited due to the scope of Nike’s ambitions; he’s a gambler, and early on, we see scenes of him going to Las Vegas to demonstrate his desire for risk-taking, even at the detriment of his own financial security. Matt Damon is great in these types of roles. Whether he’s growing potatoes out of poop in The Martian (2015) or solving complex math problems in Good Will Hunting (1997), Damon’s natural charisma and self-assuredness help lend his characters an intelligent sense of being right, even when it would seem impossible by everyone’s standards.

Affleck is a great director of actors, as he’s proven with The Town (2010) and Argo (2012). He’s able to fill the screen with phenomenal supporting talents, all playing to their strengths while injecting an emotional depth that outlines their anxieties and fears in what they’re embarking on. Jason Bateman gives a funny yet tendered performance, as he does his best to keep the division from being canned from Sonny’s obsessive drive to sign Jordan but recognizes that Nike must succeed with passionate people like Sonny and players that make people love basketball like Jordan. In one beautiful scene involving a one-on-one showcase of vulnerability, Rob emphasizes what Nike means to him and his family, as it’s one of the few ways Rob can connect with his daughter.

Affleck turns in a fun and measured performance that extenuates some of Phill Knight’s Zen-like eccentricities while never turning him into a caricature to be made fun of. He’s a CEO who knows how Nike came to be but musters the courage to trust Sonny’s vision, regardless of how risky it is. Viola Davis as Jordan’s mother is fantastic in her brief but memorable scenes, as she must navigate not only what is best for her son but also help to actualize what her son’s worth is to various show executives. It’s nothing unfamiliar for Davis to portray, but in a movie dominated by rich executives who all want a slice of Jordan’s success, she helps anchor the film’s back-door, behind-the-scenes machinations of shoe marketing by remaining steadfast and determined to protect Michael. Chris Messina turns in a memorable scene-stealing performance as Jordan’s self-satisfied agent, David Falk, who has a knack for yelling the most heinous insults to Vaccaro and his attempts to go behind his back to court the Jordans to Nike’s favor. Messina and Tucker provide many of the film’s best laughs with their manic energy and high-wire dynamics.

Air does feel small-scale in scope, as it doesn’t reinvent the genre trappings or put on a new face but plays it safe, which could minimize the film’s impact. Ultimately this is a story about singing an athlete for a sponsorship deal, and there is a quality of coming off as banal and non-exciting. Still, Alex Convery’s script is intelligent enough not to feel bogged down in unnecessary side plots or tangents that detract from the narrative and has a quick-witted, smartly funny sensibility to elevate the film from being strained. Matched along William Goldenberg‘s brisk editing, the film’s pacing and momentum are sustained, as Vaccaro goes through intense meetings whilst conversing with various personalities on wooing Michael Jordan. The film acts as a story of perseverance and standing out amongst the status quo with broad comedic conversations that envelope the film to a satisfying climax that culminates in a rousing monologue of legacy and everlasting fame that Jordan will ultimately be, as the sequence is intercut with actual photos and footage of Jordan’s life post the Nike shoe deal. The ending, while obvious to anyone who has knowledge of history, is more wholesome and endearing than feeling unearned. The glory and lionization that would follow both Jordan and Sonny feel more like the climax that would follow a standard sports drama. 

In comparison to Affleck’s previous films, Air is a valiant return after 2016’s bizarre misfire in Live By Night. His incredible ability to create entertaining and engaging films is matched by his ability to allow his actors and screenplay to pop off the screen while keeping his directing to be more understated. He focuses on close-ups and interjects quotes from Nike’s ten core principles to emphasize the film’s ethos to what led to a historic deal. The film opens with a montage of various prolific 80s commercials and sound bites of capitalism that paint the construct the film is lensed through. Commercialization of products and people exploded during the 80s, as televisions became prevalent in American households. As such, athletes were the next perfect step to the commercialization of trademarking and extensions of their personas.

Air is less of a commercial and more of an expression that success is obtained by those who dare to dream. Jordan dreamed big, as did Sonny Vaccaro. Perhaps that’s what is intrinsic to an archetype dad movie: instilling the ideals they grew up with through movies like Air that highlight the theory of being determined and passionate. Good things come to those who work and even to those who defy expectations. Of course, any viewer can get behind a movie that underscores the creed older generations were brought up with and taught to idealize the meritocracy of American fundamentals. When it comes to what is considered a dad movie and what’s a crowd-pleaser in the easiest of terms, you’ll know it when you see it.

Review courtesy of Amritpal Rai

Feature Image from Air (2023) Skydance Media