Greetings again from the darkness. As a lifelong avid baseball fan, I recall the 1973 season when relief pitcher Tug McGraw (father of country performer and actor Tim McGraw) elevated the phrase “You Gotta Believe” to the rallying cry for his New York Mets team that year (they ultimately lost the World Series to the Oakland A’s). So, I’ll admit to a touch of skepticism when I saw this was a baseball movie. Director Ty Roberts and writer Lane Garrison previously collaborated on 12 MIGHTY ORPHANS (2020) and THE IRON ORCHARD (2018), and after watching this one, I’ll give them full credit for bringing very human stories of real people to the screen.
Based on the true story of the 2002 Fort Worth (Texas) Little League team that advanced all the way to the Little League World Series, this one has the bones of the always enjoyable youth ‘underdog’ story in the vein of THE MIGHTY DUCKS (1992) and HARDBALL (2001). The big difference here is that there is also some personal and family drama that’s not quite so uplifting … heartwarming, yes … but not uplifting. We first meet this team as they are finishing their winless season. Optimistic coach Bobby Ratliff (Luke Wilson) and distracted manager Jon Kelly (Greg Kinnear) both have sons on the team, but from the action we see, this team rarely practices and has a shocking lack of athleticism for a bunch of 12-year-olds.
It’s the glimpse of on-field action that makes this version of reality a bit difficult to swallow. When the league commissioner, played by Patrick Renna (from the truly classic baseball film THE SANDLOT, 1993) pleads with too-busy attorney Jon to take his team to the all-star tournament, logic tells us, it’s one and done. However, the dynamics change quickly when coach Bobby is diagnosed with melanoma and a brain tumor. The team now has something to play for, and we are to believe that with the help of Coach Mitch Belew (hard-working character actor Lew Temple, ONCE UPON A TIME … IN HOLLYWOOD, 2019), this team improves enough to win regionals and sectionals (in a montage) while qualifying for the Little League World Series.
Bobby’s two sons Robert (Michael Cash) and Peanut, and Jon’s pitching son, (the ironically named Walker (Etienne Kallici) have key supporting roles, as do Molly Parker as Jon’s wife Kathy and Sarah Gadon (COSMOPOLIS, 2012) as Bobby’s wife Patti. The team has “Bobby” embroidered on their caps as motivation, and the team’s winning ways help keep up spirits for Bobby as he goes through treatment. There is a “Rawhide” theme song sequence that adds a bit of comic relief to help offset the heaviness of cancer.
The film highlights the remarkable game the team played in Williamsport, and we get a Satchel Paige reference (or two). The downside is that by exaggerating the ineptitude of the team when we first see them, their turnaround and entire journey seem a bit hokey. Of course, no game is bigger than life, and the film ends with the expected harsh reality of the boys wearing their uniform one more time. We do get a shot of Bobby’s grown-up son reading a letter to his young son, and it concludes with clips of the actual Little League World Series – complete with players, coaches, and Bobby. Once again, a story of underdogs manages to make solid contact.
In theaters nationwide on August 30, 2024
Posted by David Ferguson
Greetings again from the darkness. It seems wrong (and a bit cheap and obvious) to use the word “unorthodox” to describe this latest movie from writer-director Nathan Silver (STINKING HEAVEN, 2015) and co-writer C. Mason Wells. However, that description fits … even if a bit too perfectly. The word also accurately describes the look and camera work from cinematographer Sean Price Williams, using harsh close-ups for immediacy and a filtered soft look for connection.
Greetings again from the darkness. It’s understandable if this movie makes you consider whether penguins might make better friends than people. David Schurmann directs a script from Kristen Lazarian Paulina and Lagudi Ulrich that is ‘inspired by a true story’. By now, we all recognize this as code for dramatic license has been taken, and it’s up to the viewer to differentiate fact from fiction.
Greetings again from the darkness. Losing a parent is a difficult time that most of us will deal with at some point. Sorrow and guilt and anger are typically part of the grieving process, and that’s precisely what writer Brett Ryland and director Robert Schwartzmann (THE ARGUMENT, 2020) show us. For those who have been through it already, it’s likely to bring back emotions that will always be there, and for those who haven’t experienced this yet, it serves as a cautionary tale.
Greetings again from the darkness. Billed as “a fictional story inspired by true events”, the film pretty obviously draws from the 2014 case where aesthetician Dawn DaLouise was accused of plotting the murder of rival Gabriel Suarez. This is the first feature film from music video director Austin Peters, who co-wrote the script with Sam Freilich and Deering Regan (all first-time screenwriters). Although there is some entertainment value here, the inexperience of the filmmakers shines through, leaving us wishing for a bit more heft.
Greetings again from the darkness. Some slack and a certain level of compassion is due director James Marsh’s (Oscar winner for MAN ON WIRE, 2008) biopic on the enigmatic writer Samuel Beckett. The reasons no other filmmaker has previously attempted to profile Beckett are on display here, right alongside the reasons he remains such a fascinating figure. The screenplay from Neil Forsyth features surprisingly little of Beckett’s own work, and instead, generally breaks his life into three categories: his foundation as a writer, his work in the French Resistance, and the weight of his romantic life.
Greetings again from the darkness. The Troubles of Northern Ireland were a 30-year political and social conflict that officially ended in 1998 with the Good Friday Agreement. Even today, the pain and memories and divisions remain. Writer-director Rich Peppiatt’s film is set in 2019 (West Belfast) and is billed as a “mostly true story” involving controversial hip-hop group Kneecap and the push to make Irish an official language. Early on we are told, “A country without a language is only half a country.”
Greetings again from the darkness. Ten years ago, no one would have thought twice about a preacher traveling to a remote island with the given mission of converting souls – both indigenous and British – to Christianity. But much has changed in those 10 years, and writer-director Lee Tamahori (hit and miss with NEXT, 2007; DIE ANOTHER DAY, 2002; ALONG CAME A SPIDER, 2001; THE EDGE, 1997) and co-writers Michael Bennett and Shane Danielson take head-on on the “white savior” backlash that’s surely coming their way (not from me).
Greetings again from the darkness. Creativity is such an intangible topic … so esoteric in nature that those most driven by it are likely misunderstood by everyone else. The second feature film from writer-director Nicole Riegel (HOLLER, 2020) focuses on a talented, yet frustrated troubadour living in Cincinnati.
Greetings again from the darkness. “MY DINNER WITH ANDRE in a NYC taxi cab.” That’s my description of writer-director Christy Hall’s first feature film. Of course, that’s an over-simplification, as her film deals with gender roles, socio-economic topics, and a big ol’ dose of emotional baggage. It’s what’s known in the business as a two-hander. We have two characters and one setting and a whole bunch of talking. Casting being crucial here, filmmaker Hall did choose wisely with Dakota Johnson and two-time Oscar winner Sean Penn.