Rated R. At the AMC Boston Common and suburban theaters.

Films such as “The Social Network” (2010), “Jobs” (2013), “Steve Jobs” (2015) and now, “BlackBerry” tell us the story about how a social network or a cellphone was created by visionaries who belong to an entirely new generation. But these films never really crack the code concerning the love affair between people and their phones (and/or their Facebook addiction). The more I see people gazing intently into their phones as they cross busy city streets the more I wonder: What have they wrought? The suitably Canadian entry “BlackBerry” is basically the BlackBerry biopic.

Directed by Canadian faux-doc filmmaker Matt Johnson (“The Dirties”), who also excels playing nerdy BlackBerry co-creator Doug Fregin in the film, and written by Johnson, Canadian investigative reporter Jacquie McNish and Matthew Miller, “Blackberry” begins in the age of vintage computers and pagers. Doug and his fellow gamer and partner Mike – “the dropout boy genius” – Lazaridis (Jay Baruchel of the great, sports-movie “Goon”) run their office – Research in Motion aka RIM – in little-known Waterloo, Ontario like a Friday night D&D session, no dress code and no work code either.

But every bad-haired worker dreams of putting a “Star Trek” communicator in the hands of their customers. Mike wants to make a giant leap beyond pagers and “put a computer inside a phone,” using free wireless signals. Thus, the “CrackBerry” was born and millions of devoted users, including President Barack Obama, couldn’t put it down. I remember a fellow gym member showing me his brand new BlackBerry over 20 years ago. I could barely operate my cordless phone, never mind a phone that was smarter than I (I’ve learned). “BlackBerry” follows the same narrative as many stories about success and great riches, the curve bends upwards higher than anyone ever expected. Then, it trends downward. I could have done with less bobbing, handheld shooting by DP Jared Raab.

After their coup, Mike becomes co-CEO with the much more disciplined and corporate Jim Balsillie (Glenn Howerton, “It’s Always Sunny in Philadelphia”). Basillie is partial to loud outbursts and violent tirades and has a wall of tribal masks in his office. Balsillie, who claims the film misrepresents him, gets a cringing assistant. Mike, Doug and Jim will eventually go their separate ways. In Balsillie’s case, this involves a private-jet race to purchase a hockey team while his company is in free fall.

Doug continues to wear Mortal Kombat tees, while Mike sports a new, super-villain gray bouffant. For a while, it’s “Wolf of Wall Street” time. Then, Doug and Mike go to Apple’s HQ and hear (the real) Steve Jobs introduce the new touch screen iPhone. BlackBerry begins to lose market share. China, a place Mike had sworn he would never have his phone made, increasingly beckons. It is the asp in Mike’s bosom.

“BlackBerry” is far superior to the audio torture that was the Aaron Sorkin-scripted “Steve Jobs” and perhaps less inspired than David Fincher’s “The Social Network” with Jesse Eisenberg and its twin Armie Hammers. Mike and Doug search for an “iPhone killer.” But a built-in mouse pad is not it. Neither is the “BlackBerry click.” “BlackBerry” is a thriller complete with a nervous electronic score by Jay McCarrol. It’s a fun ride with a fine cast, a kind of comic “Glengarry Glen Ross,” and the Kinks’ “Waterloo Sunset” is the perfect fade-out. When do we get the Musk horror film?

(“BlackBerry” contains profanity)