Tag Archives: sports movies

I, Tonya

Margot Robbie is convinced this film will change your mind about Tonya Harding. Is she a villain or a victim? Abused or abuser? The truth is, your opinion doesn’t really matter and truth doesn’t really exist. What does exist: a wholly funny film that never fails to entertain.

{In the unlikely event you’re in need of a refresher: Tonya Harding was an American figure skater in the 1990s, and competed twice in the Olympics. She was known for two things: for being the first American female to land a triple axel in competition, and for bashing in her Nancy Kerrigan’s knee.}

Margot Robbie is well-cast as Tonya Harding. She’s still just a little too pretty to play elm120117intelmovies-007-1512400299white trash, even with the poofy 90s bangs, but she comes down low and it’s pretty glorious. Sebastian Stan plays Harding’s good for nothing husband, Jeff Gillooly, and he disappears into the role of dumb fuck. Jeff’s dumb ass best friend Shawn (Paul Walter Hauser) pretends to be an international spy even though he’s a grownup who lives with his parents. Not exactly criminal masterminds, but this is the trio that brought us the most delicious scandal of 1994 (until OJ Simpson that is – if you thought Lillehammer was competitive, try being a celebrity fuck up). But for my money, I’d have to say that the real cast stand-out was Ms. Allison Janney, who plays Tonya’s mother LaVonam who, by sheer comparison, makes bathtub scum look appealing. She’s the dirtiest of dirts with not a kind word or intention in the world. If being a crummy mother was an Olympic sport, she wouldn’t have to resort to breaking any kneecaps.

The first thing that may surprise you about this film is that it’s funny. Actually funny, though pretty dark – the kind of laughs you feel slightly guilty about succumbing to, but you’ll need to just embrace the absurdity. It is farcical, in the way only a true story can be when it’s populated with idiots.

The second thing that surprised me anyway, was that it actually does dredge up sympathy for our poor Tonya. Her guilt (or innocence) is not really the point. This is Tonya’s story, hers alone from beginning to end. No one’s trying to excuse what happened, but putting “the incident” within context is actually very interesting.

I, Tonya is funny, dramatic, pumped full of energy, and even the sports angle is well-done. Certainly Margot Robbie can be commended for all the hard work she put in getting skate-ready, but she gets a lot of help from choreographers, stunt people, and CGI – effects that are pulled off almost seemlessly. But it’s the camera work that makes the figure skating extra exciting – you really get a sense of the speed and athleticism, two hallmarks of Harding’s style in particular. No matter your experience of “the incident” at the time, I, Tonya turns tragedy into triumph.


Battle of the Sexes

In 1973, a tennis has-been named Bobby Riggs thought of a great way to become relevant again: he challenged current champion Bobbie Jean King to a game. No, not just challenged her: assured the world that he would win, because he was male, and that was enough. Bobby Riggs probably didn’t truly believe in most of the chauvinistic slogans he chanted, but he knew they’d get him attention in the era of “burning bras” and “women’s libbers”, and he was right. He was a Kardashian of his time; he knew how to work the media and how to gain attention for himself. It just so happened that the women’s movement generally, and women’s tennis particularly, needed exactly this kind of opportunity.

Battle-of-the-Sexes-posterSteve Carell does an excellent job of making the buffoon Riggs more than just a brash loud mouth; in fact, Carell was probably my favourite part of the film. And that’s maybe a little sad considering this really should have been Billie Jean King’s story to tell. And to some extent, it is. It’s just that I thought Emma Stone’s version of her was pretty beige. She’s more than just a prominent pair of glasses with a side of closeted lesbian.

But at least the film is layered and tries to establish the game within the context of its time, not just within the characters’ lives but societally as well. The film may bear the name of The Battle of the Sexes but directors Jonathan Dayton and Valerie Faris seem to know that the most interest part of the conflict happened off the court.

This film hit theatres in a very timely fashion – a reminder of how incredibly not very far we’ve come. Now that it’s available to rent, why not watch it as a drinking game, and take a shot of female empowerment every time a Grand Slam title champion is referred to as a “little lady.” On the press circuit, the real Billie Jean King reminded us that at the time, a married woman couldn’t hold a credit card in her own name. But here we are in 2018 (happy new year) and you just know this movie didn’t get made without someone getting sexually harassed. In 40 years, what will the #MeToo movie say about us?

TIFF: The Bleeder vs. Bleed for This

Ladies and gentlemen, it’s now time for the main event of the 2016 Toronto International Film Festival, coming to you live from the beautiful, historic Elgin Theatre.  

Introducing first, in the red corner, standing six feet five inches and weighing 223 pounds, with a professional record of 35 wins, including 17 by knockout, 14 losses and 2 draws, the former New Jersey State heavyweight champion, from Bayonne, New Jersey, please welcome from the Bleeder, Chuck “The Real Rocky” Wepner!!  

His opponent, in the blue corner, standing five feet eight inches and weighing in at 170 pounds,  with a professional record of 50 wins, 30 by knockout, against 10 losses, fighting out of Providence, Rhode Island, a former world champion in the lightweight, light middleweight, and super middleweight divisions, from Bleed for This, please welcome Vinny “The Pazmanian Devil” Pazienza!!

Jay was gracious enough to agree to include not one, but two boxing biopics in our TIFF schedule: The Bleeder, starring Liev Schrieber, and Bleed for This, starring Miles Teller.  In an all-out battle to capture my vote, who came out on top?  Let’s go ringside and find out!


The Bleeder:

The Bleeder opens perfectly, introducing us to a guy we know even though we don’t know it.  That guy is Chuck Wepner, a human punching bag who took a punch so well he could go 15 rounds with anyone, even the Greatest.  Yes, the man himself, Muhammad Ali.  Wepner got the fight because he was the only white guy in the top ten, and during the fight he acquitted himself so well that he inspired Sylvester Stallone to write Rocky.

Along with taking a punch, Wepner’s other notable trait is the ability to consistently make the worst possible decision.  To the credit of Wepner and the Bleeder, the movie does not pull any punches with Wepner’s character.  He is a flawed person but the kind of flawed person who you can’t help but be charmed by.  Liev Schrieber is almost unrecognizable as Wepner and does a fantastic job of showcasing the charm while also making us feel for Chuck as he suffers some severe consequences, including losing his family and going to prison.

In the end, the Bleeder does justice to the Real Rocky’s story and gives us a true underdog who makes good in a real way, in his own way.  Somehow, the Real Rocky turns out to be the furthest thing from a cliche, and yet still manages to come out on top in the end.


Note: this movie has been renamed ‘Chuck’ and will hit theatres May 5.


Bleed for This:

While the Bleeder features the Real Rocky, Bleed for This features a comeback story too unbelievable to be used as a plotline in the Rocky franchise.  And that’s saying something considering Rocky has come back from: (a) Mickey being shoved to death by Mr. T; (b) Apollo being beaten to death by Drago; and (c) Adrien being written to death by Stallone as a convenient reason to make yet another goddamn Rocky movie.

Miles Teller makes a good showing as Vinny Pazienza, a champion boxer whose neck was broken in a car crash.  Told by doctors that he may never walk again, Paz somehow was able to return to the ring just 13 months after his accident and went on to fight boxing legends like Roberto Duran and Roy Jones Jr.  Teller looks like Paz and looks like he belongs in the ring, but in the transition to the screen the real-life magic that Paz possessed is lost and Bleed for This ends up feeling like just another boxing movie.  And that’s a shame, because overcoming this level of adversity should truly feel triumphant.

The Judges’ Decision:

The match goes the distance as both the Bleeder and Bleed for This are enjoyable films with charismatic turns by their stars.  There can only be one champion though, and by unanimous decision The Bleeder takes the belt.  The Bleeder is far more memorable because it’s not your typical happy ending, and it’s less about boxing and more about the trappings of fame.

The bottom line is that if you like boxing, you’ll enjoy both of these.   The difference maker is that even if you don’t like boxing, I am still confident in recommending that you watch the Bleeder.  It’s a fascinating story that captures the essence of the most interesting loser imaginable, a story so powerful that it inspired an entire movie genre.  It’s a credit to Paz and his tenacity that things were even this close, as in the end Rocky always wins.

TIFF: The Rest


Carrie Pilby

Awkward, isolated and disapproving of most of the people around her, a precocious 19 year-old genius is challenged to put her convictions to the test by venturing out on to the NYC dating scene, in this adaptation of Caren Lissner’s best-selling 2003  novel.


I was especially excited about the world premiere of director Susan Johnson’s debut feature because I knew I would get to share the experience with my parents. I also liked the sound of Carrie as described by the TIFF website. I’ve always enjoyed unlikeable characters who become easier to empathize with once we get to know them.

As it turns out, Carrie Pilby isn’t nearly as misanthropic or as unsympathetic as the website would have you believe. In fact, when played by Diary of a Teenage Girl’s Bel Powley, she’s actually quite charming. She may be a little too sarcastic for her own good but she’s never mean and her posture suggests such obvious vulnerability that you may just want to give her a hug.

You may find Carrie’s exasperation with those around her easy to relate to considering the unforgivably forgettable supporting cast. Nathan Lane and Gabriel Byrne phone in their performances as her therapist and father and potential love interest Jason Ritter finds a way to make sleazy seem boring. Only Saturday Night Live’s Vanessa Bayer, who I was pleasantly surprised to see at the premiere, holds her own against Powley as Carrie’s co-worker and new friend.

In the end, the script is nowhere near as smart as Carrie is. Though it offers a number of big laughs and some seriously sweet moments, the dialogue is way too obvious most of the time. I found I was able to anticipate line after line almost as if I was dreaming the film into existence myself.




The indomitable Iko Uwais (The Raid) stars in this fast and furious actioner as an amnesiac whose mysterious past as a killing machine comes to the fore when he takes on the henchmen of a vengeful drug lord.


I ended my first night at TIFF 2016 the best way I know how- with my annual Midnight Madness screening. You never know what you’re in for with the Midnight Madness program but this year I felt like I was in good hands. Back in 2011, I caught a midnight screening of The Raid at the festival and I was so exhilarated by the experienced that I’ve made sure to catch at least one midnight film each year. No matter how many bad movies I have to sit through.

The Raid isn’t just a bloody good time. It’s actually an impressive film. There isn’t a wasted moment in the whole movie and every shot serves to build suspense. This combined with outstanding fight choreography and a less-is-more approach to dialogue make The Raid one of the best action films so far this century.

The Raid works in large part because of director Gareth Evans who I really wish was directing Headshot. The latest vehicle for Indonesian martial arts superstar Iko Uwais is nowhere near as tense or as tightly edited. Not that directors Kimo Stamboel and Timo Tjahjanto do badly. They do an admirable job of capturing every chase and fight so that we always know who’s kicking who. But there’s something missing. Maybe it’s that The Raid managed to avoid the kind of silliness that Headshot has so much of (amnesia, for example, not to mention a sometimes corny love story).

That being said, Uwais’ hands, feet, elbows, and whatever else he can find always connect like they’re supposed to and Headshot manages to outgore The Raid. Friday’s Midnight Madness crowd seemed to have a good time and if you don’t mind a few heads being split open I’m sure you will too.



A Monster Calls

Liam Neeson, Sigourney Weaver and Felicity Jones star in this adaptation of the award-winning children’s book by Patrick Ness, about a lonely young boy struggling with the imminent death of his terminally ill mother who is befriended by a friendly, shambling monster that arrives in his room nightly to tell him stories.


I read on Wikipedia that Toronto’s Roy Thomson Hall holds over 2,300 people. I am quite sure that on Saturday afternoon I heard 2,000 cry. I could hardly stop myself from crying through the final moments of the latest film from director J. A. Bayona (The Impossible) and didn’t do much better through the closing credits or walking down King Street after.

I was surprised by my emotional reaction given that I was finding most of the film disappointingly uninspired. As much as I loved the design of the monster and the outstanding voice work of the great Liam Neeson, I expected more wisdom from his stories (which are brought to life in lovely animation).

Only in the end do the monster’s lessons really become clear. As frustrated as the young boy is by the seemingly pointless stories at first, it becomes clear that he is being taught lessons unusually mature for a children’s story. I can think of several family films where a child has to learn to cope with the loss of a parent but I can hardly think of any that are less condescending and more painfully honest.



Hello Destroyer

Jared Abrahamson (Fear the Walking Dead) plays a painfully shy but ruggedly capable enforcer on a minor-league hockey team who discovers the cutthroat nature of his locker-room “family” in the forceful first feature from Canadian director Kevan Funk.


Tyson Burr (Abrahamson) may not be the star player of the Prince George Warriors but he’s an enforcer – the guy you can count on when the game gets rough. In one particularly rough game, Tyson puts someone in the hospital and soon sees how quickly his team, his coach, and the community at large can distance themselves in hopes of avoiding responsibility for the culture of violence that they helped to create.

When introducing the film on Saturday, Funk was quick to insist that Hello Destroyer is not intended as a commentary on Canada’s infamously violent national sport. He’s more concerned with violence in general and the social context around aggressive behavior. There’s very little hockey played onscreen and some fans of the sport may be disappointed by the slow pace of the film. I’ll admit to being frustrated as it slows down even more in the second half. (It was my third film of the day and I was starving). It’s only after the fantastic Q and A with Funk and the cast that I let it all sink in.

This is one tragic, hard-hitting, and beautifully acted film. It’s the kind of movie that gets better and better the more you think about it.


Eddie The Eagle

everything-you-need-to-know-about-taron-egerton-s-new-movie-eddie-the-eagle-823764Dear god. Is this the cutest kid in the whole wide world? Little Eddie has Olympic-sized dreams. He’s not much of an athlete but he’s always a-training. He’s got a tin to hold all his medals but so far all it holds are the glasses he breaks while working out (did I mention he’s not much of an athlete?).

If they gave a gold for perseverance at the Olympics, Eddie would have a neckful. They don’t (I checked. And probably so did he.). But eventually he finds his niche: downhill ski. He’s still not Olympic material (so says a man with a friendly hand on his shoulder) but he does remain mostly upright. So if he’ll never make the downhill team, should he just get on with his life already? Not Eddie. Eddie’s a dreamer. And a finder of loopholes. Turns out, England doesn’t have a ski jump team. Know what that means? No competition! Even if he’s the worst, he’s the one and only, which also means he’s the best, which means automatic qualification! Kind of genius, eh?

Eddie Edwards is a real person and you may remember his story. As a character on the eddie_the_eagle_114967screen he’s incredibly likeable and his optimism is incurable and catching. If optimism was VD, he’d be positively syphilitic. But his country’s not behind him. Heck, even his coach is reluctant at best, and a bit of a drunk (hello, Hugh Jackman!). Meanwhile, Taron Egerton as Eddie is nearly unrecognizable but instantly warms you to the role.

Is this a feel-good movie? Yes it is. And normally I’d say that with a smirk. But this is the kind of feel-good that doesn’t make you want to poke your eye out. The movie avoids biographical truth in order to cling to sports-movie cliches and I still can’t fault it – it’s simple, it’s predictable, and by god is it endearing.



The Bronze


In 2004, Hope Ann Greggory (Melissa Rauch) made her small Ohio town proud by bringing home the coveted Olympic Bronze Medal in women’s gymnastics. With her career cut short by a minor injury, Hope has been costing on that accomplishment ever since.

Rauch, who co-wrote this script with her husband, is best known for a show that I don’t watch. She insists though that Hope is a huge departure from her Big Bang Theory character and I’m willing to take her word for it. Unless CBS is willing to let her masturbate to footage of her glory days or say things like “absence makes the dick grow harder”, Chuck Lorre fans may be in for a side of the third most famous female BBT actress that they made not be ready for.

Hope is an obnoxious mess. Living with, mooching off of, and verbally abusing her sweet mailman dad (very well-played by Gary Cole), she makes a living off of stealing cash from his route. She also has a habit of going on a spoiled brat tirade of obscenities every time she hears something she doesn’t like, giving the sentenced-to-network-television actress a chance to do her best Melissa McCarthy (but somehow sounding a lot like Reese Witherspoon in Election).

Hope gets a second chance at life when her former coach dies and, for implausibly selfish reasons, she decides to take over coaching a promising sixteen year-old (Haley Lu Richardson) with dreams of Olympic gold. Richardson plays Maggie as naïve, hard-working, and loveable and Hope comes very close to ruining her. When Maggie beings to make the mistake of believing her own hype, The Bronze judges her way too harshly for the same attitude that it is so ready to forgive the 30 year-old Hope for.

The supporting cast of characters that Hope treats like shit- her dad, her pupil, and her sweet love interest (Tom Middleditch)- are all easy to like and make the film itself much more enjoyable to watch. The real problem is Rauch. As much fun as it must have been for her to unleash her inner Apatow, she’s more annoying than charmingly outspoken and her eventual redemption is too little-too late. And the ending, without giving too much away, is unforgiveable.


race 1Jesse Owens deserved better.  Race is a movie that hits the points you’d expect but does it so mechanically that it has no momentum.  Rather than having the power of its Olympic sprinter protagonist, Race is soft and lumbering, like a darts competition at the local dive bar.

The only time Race really shines is during the one-on-one exchanges between Owens (Stephan James) and his coach, Larry Snyder (Jason Sudeikis).  Those conversations are funny, warm and real.  Unfortunately, those moments are few and far between.  It’s too bad that the film didn’t put those interactions into the foreground as that would have made for a much more
enjoyable movie.

Perhaps the problem is there was simply too much ground to cover.  Race’s story follows Owens through the course of several years during the race 2peak of his career.  We flip back and forth between Ohio, New York, Berlin, Nebraska, Michigan, Los Angeles, and probably more places that I’ve forgotten.  We hit the athletic highlights, like Owens setting three world records and tying a fourth in less than an hour in 1935, and Owens winning four gold medals at the 1936 Olympic Games.  We touch on the hypocrisy of the United States’ threat to boycott those Berlin games at a time when racism and segregation were the status quo in the “land of the free”.  We gloss over the rest of Owens’ life by way of end titles and some nice photographs of Owens and family at various stages of his life.

There is a good movie in here somewhere but the plodding delivery sinks it (and the important-sounding score doesn’t help matters).  Race seems to want to be a message movie highlighting the aforementioned hypjesse-owensocrisy by showing us the second-class citizenship of Owens even when he’s America’s hero.  If that was the aim, Race falls well short.  Painting Hitler and the Nazis as the bad guys is easy, and Race goes that route.  But the real story is more damning and I wish Race had told it as it happened.  At a political rally in October 1936, relatively soon after his triumphant return to the U.S. with four gold medals in hand, Owens said,  “Some people say Hitler snubbed me. But I tell you, Hitler did not snub me. I am not knocking the President….but remember that the President did not send me a message of congratulations because people said, he was too busy.”  Hitler reportedly shook Owens’ hand after his victories, while Franklin Delano Roosevelt couldn’t find the time to send Owens a congratulatory telegram.

The President’s indifference to Owens presumably lines up with the attitudes of white America at the time.  That may explain why Owens’ life after 1936 was a difficult one.  His amateur status was revoked when he tried to make some endorsement money from his Olympic success, and after loRACEsing his amateur status he was reduced to racing against horses for show.  Later, Owens got by as a dry cleaner and gas station attendant (though “got by” may be generous as he declared bankruptcy and was prosecuted for tax evasion).  All in all, it’s a very sad statement.  Today, Owens is rightfully regarded as a legend but it seems that during his lifetime he was not treated like one, to say the least.  Race hints at that fate but doesn’t focus on it, and that’s a shame.

That’s probably the biggest reason that Race seems like an opportunity missed.  Coach Snyder would have called it a natural that lacks the work ethic required to be truly great. For its half-hearted effort, Race gets a score of five medals out of ten.


The Program

Lance Armstrong: hero or villain?

A liar and a cheat, that’s for sure.

And that’s what this movie is about: one man’s relentless, ruthless pursuit of the only thing that matters to him – winning. And it’s not just that he was willing to cheat to keep up with the others, no, you have to cheat the best to be the best. He didn’t just cheat, he hired a whole team of cheaters in order to boost his performance while cloakitheprogramng his dishonesty. And he flaunted his power and prestige (that he largely earned being “The Face of Cancer through his Livestrong foundation) to intimidate and coerce others into staying silent.

Ben Foster stars as Lance Armstrong, and it’s a good fit. He does the smarmy bravado well, with glimpses of vulnerability that humanize him. Jesse Plemmons (the low-rent Matt Damon) co-stars as his team-mate, and Chris O’Dowd, my Irish boyfriend, as the sports journalist who MTMzMTA1NDUyODAzMjEzMzIythinks he smells a rat.

The script is the problem. It has to race through more than a decade of doping, and it does so pretty frenetically, not really dwelling on much other than his downfall. The story doesn’t seem to know if it’s about Lance Armstrong’s power-hungry cheating or David Walsh’s (the journalist) determined reporting, or about generalized ambition and abuse of power in the sports world.

Lance Armstrong is not a nice guy. He lied, repeatedly, unapologetically. He cheated in pursuit of fame and money and all things deplorable. He also beat cancer and raised a lot of money for its research. But it’s likely the reason he got cancer in the first place was all his doping. But his doping and his subsequent winning led him to rejuvenate his sport, and imagesthe Tour de France, inspiring many. So who is this man? Don’t look to The Program for the answer. It has little in terms of insight – it’s mostly a scrapbook of Lance’s greatest hits and David’s best articles about them, and questioning them.

The only part of this movie I found interesting is when Dustin Hoffman briefly appears as an insurer. U.S. Postal sponsored Armstrong’s team and paid him out bonuses for each win, and an insurance company backed them up. Armstrong won a LOT of Tours de France, and they owed him a LOT of money…except what if he cheated, then he didn’t really win, did he? Armstrong is prepared to throw EVERYONE under the bus to keep his lie alive, but we all know how that ended up. The truth is, there is little in this movie that we don’t already know. And with scattered story-telling and shoddy characterization – well, what’s the point?



3044397-poster-p-1-the-southpaw-trailer-hits-you-with-a-ridiculously-cut-jake-gyllenhaal-and-new-eminem-musicJake Gyllenhaal plays a boxer who hits a very hard bottom. He’s at the top of the game when the film begins, but when his head and his heart aren’t in it, he very quickly loses everything he has. He barely notices losing the cars, blinks lazily as the contents of his home are removed for auction, tries to be philosophical about the foreclosure of his multi-million dollar home, and contributes in the banishment of friends, and it’s only when they take his daughter that he breaks. His daughter is removed by child services from his custody and is sent to live in the very same system that he grew up in, and suddenly he realizes that he has to mobilize to win her back.

He turns to grizzled, reluctant trainer Tick Wills (Forest Whitaker) for help. As a boxer, Billy Hope has spent his life defending punches with is face, but that’s not enough to face down the current competition (who may also be the instrument of his undoing). Tick teaches him a more patient and thoughtful way to fight, which – lo and behold – turns out to be a great metaphor for life too.

I thought Gyllenhaal was fantastic. His performance was all meat and muscle. But the script was limp. Matt and I punched lots of holes into the story while sitting in the parking lot while Sean SOUTHPAWbought dog food, but it wasn’t just that the writing was too loose, it was also riddled with sports cliché. And we’ve already seen that movie, the boxing match as redemption. Kurt Sutter (of Sons of Anarchy fame) has nothing new to add, and director Antoine Fuqua seems to have a pretty light touch, unless they were literally going for Most Tragedies Inexplicably Overcome.

So while I believed Gyllenhaal, I wasn’t convinced by the script. It keeps pounding us relentlessly with heaps of depressing shit and it’s hard to earn any modicum of triumph after such an onslaught. It’s gritty as fuck but then it chickens out. And just looking at Gyllenhaal, how 1437571988_southpaw-articlecommitted he is to this role, how hard he’s trying, you feel bad that everyone’s let him down and this just never gets to be the movie it maybe could have been. Sean felt that the boxing bits were pretty extraordinary, and it showed how Jake had worked his little buns off to get into such tough fighting shape (although noticeably fought right-handed save for one notable left-handed uppercut, says Sean, who was really irked by that the movie would be called Southpaw, which literally means a left-handed boxer, and then not pay attention to which hand is the dominant fighting hand. I myself did not notice such a thing because I’m sports-deficient).

I think it’s worth a rental just to watch Gyllenhaal, who is definitely on fire and making bold, interesting choices in his career. But the truth is I’d rather watch him any day in creepy Nightcrawler than watch this movie, with its bevy of eye injuries (and you may remember I’m a strict eye-phobe, which means I only watched about 40% of this movie since every time his eye bleeds, my vision goes blurry) and the physical and emotional blunt force trauma that’s just so goddamned brutal to watch.


I pretty much thought we must be out of sports stories by now. How many teams can possibly start out dead-last but thanks to the inspiring speechifying of their devoted but grizzled coach, end up earning first? And of those teams, how many can overcome the prejudice of racism at the same time, convincing white folks who admire achievement that maybe these coloured folk aren’t so bad after all, because they sure are fast? And how many of these can possibly star Kevin Costner?mcfarland

If you answered TOO DAMN MANY, then you, sir, are correct!

This movie doesn’t really do anything wrong other than steal from every sports movie that’s come before it. If it was the first of its kind, you might even call it good, or inspiring. But I’m going to call it neither, because I do not live under a rock. I’ve seen it all before. I’m tired of this formula, which was pretty thin to begin with.