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| Courtesy of Warner Bros. |
As a cynical
movie critic, I should’ve loathed it. So why the heck was I smiling the whole
time? Chalk it up to the absolutely phenomenal cast and a refusal on anyone’s part
to wink at the cheesy material. It’s practically a magic trick, watching talented
actors breathe life into clichés that were tired 60 years ago.
Eastwood
plays Gus Lobel, a legendary baseball scout for the Atlanta Braves. In the movie’s
world, he’s the guy who discovered Dale Murphy, Tom Glavine, Chipper Jones and
a bunch of other superstars. However, Gus’ eyesight is starting to go and his
younger rival (Matthew Lillard) is already looking for a reason to get him
fired. (You know he’s evil because he uses a computer instead of his gut.)
Gus’ career
is on the line and Pete (John Goodman), his boss and oldest friend, knows it.
In a last-ditch effort to save his buddy’s job, Pete visits Mickey (Amy Adams),
Gus’ estranged daughter and begs for her help. She’s trying to make partner at
a high-powered Atlanta law firm, but Pete convinces her to take a road trip to
North Carolina with her dad to scout Bo Gentry (Joe Massingill), the league’s most
promising prospect in years. If they can sign the kid, Gus might just be able
to save his job.
Along
the way, they run into Johnny Flanagan (Justin Timberlake), a pitcher-turned-scout
and another of Gus’ big discoveries. He’s got his eye on a career in the Red
Sox announcer’s booth, but his gaze eventually shifts to Mickey (as it would, considering
she looks and sounds a lot like Amy Adams).
Will Gus
and Mickey repair their relationship? Will they be able to save Gus’ job? Can
Johnny break through Mickey’s icy exterior and win her heart? And what about
the hotel maid’s teenage son, the one who isn’t allowed to play catch because
he has chores to do? Will he be important to the story later on? If you answered
no to any of these questions, you’ve clearly never seen a movie before.
I
realize I’m being dismissive, a fact that doesn’t match up with the grade
below. But it’s tough to communicate how the rational side of me can understand
that a movie is less-than-stellar while my emotional side simultaneously enjoys
the experience. It’s like letting a slick car salesman talk you into buying a gas-guzzling
convertible.
Again,
credit for that goes to the cast. They take newcomer Randy Brown’s script and
elevate the material to surprising levels. Robert Lorenz, making his
directorial debut after years of behind-the-scenes work on previous Eastwood
pictures, clearly adopted his mentor’s point-and-shoot philosophy. Lorenz also managed
to convince Eastwood to star in a project the actor didn’t also direct, a feat
that hasn’t occurred since In the Line of Fire back in 1993.
The renowned
performer does his standard cranky old man thing, which should delight
audiences to no end. His interplay with the rest of the cast – particularly Adams
– is endearing, and a scene between him and a tombstone proves the guy still
has a knack for acting after all these years. (It’s much more successful than
the last time he tried to have a conversation with an inanimate object.)
Adams is
fantastic as always, matching the intimidating Eastwood line-for-line and glare-for-glare.
Unfortunately, her character falls into the stereotype of “career woman with no
time for a personal life,” but the actress keeps it from feeling like yet
another retread.
Timberlake
continues to improve as an actor with each role he takes on. I know people tend
to give him a hard time, but I’ve always been impressed with his screen
presence and comedic timing. He and Eastwood have some hilarious scenes
together.
The rest
of the cast delivers memorable but too-brief turns. As far as I’m concerned, it’s
impossible to overuse Goodman, but he disappears from the story for long stretches.
It robs the film of one of its strongest assets. Lillard shows up every once in
a while to sneer, and dependable character actor Robert Patrick pops in
occasionally to deliver the icy stare he does so well.
Trouble
with the Curve isn’t breaking new cinematic ground by any stretch of the
imagination. But it’s funny, sweet and most moviegoers are going to fall in
love. It wouldn’t shock me at all if this ends up being a The Blind Side-style
surprise blockbuster.
Trouble
with the Curve is rated PG-13 for language, sexual references, some thematic
material and smoking.
Grade: B
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