Thanks to the recent speech at the Republican National Convention in which the former Dirty Harry berated a chair holding an invisible Barack Obama going into a movie starring Clint Eastwood as a technophobe who has trouble not walking into tables and chairs on a daily basis isn’t exactly a setup for success. But believe it or not it’s actually not that unfortunate context that’s the problem: from the clunky script and pacing to Clint’s ever-present grumble and the film’s predictable plot Trouble with the Curve is a slow pitch right down the middle.
And this is coming from someone who loves baseball movies so much she’s suffered through Kevin Costner’s For the Love of the Game – twice. But Trouble isn’t really a baseball movie. It’s a sappy father-daughter relationship tale with baseball as the hook and the caulk filling in the film's cracks.
Gus (Eastwood) is one of the oldest most respected scouts in the game but he’s getting old his eyes are going and some twerp with a laptop (Matthew Lillard) and his frat boy henchman are determined to shove Gus out of his position at the Atlanta Braves and replace him with a computer (muah-ha-ha). His daughter Mickey (Amy Adams) who he named after Mickey Mantle because that’s how much he loves baseball is trying to make partner at her law firm in a pool of misogynistic bigwigs when she’s called down to North Carolina to help her dad at the behest of his boss and best friend (John Goodman). While she should be working things out with her pops a young scout named Jimmy (Justin Timberlake) shows up flirts with Mickey and steals the storyline for the entire middle section of the film.
While Eastwood’s growling grumbling demeanor are perfect for the role of a stalwart old man who refuses to give up the game he once knew he’s saddled with stale jokes and quips – you may know them as “dad jokes” – that undermine his ability to be the wise man who knows better than these young whippersnappers. Adams does the best she can with a role that asks little more than for her to be smart sassy and outspoken but it simply feels like the role was over-cast. Timberlake’s character is plagued with Gus’ same brand of dad jokes but luckily for us the former boy bander is oozing with enough charm to make any joke no matter how terrible funny enough to make us fall in love with him – for an hour and half anyway.
Script issues aside where the film really starts to lose its way is in its portrayal of Lillard’s young ladder-climbing villain. At one point they even show him sitting in a dark room backlit by a lone desk lamp as he instructs his henchman to keep spying on Gus. All that’s missing is a maniacal laugh and a fluffy cat on his lap for him to stroke with his ruby-ring-decked hand.
It’s this hyperbolic villainy coupled with the treatment of Gus’ mortal enemy (technology) paired with two battling relationship stories (Timberlake and Adams vs. Eastwood and Adams) and the slow plodding pace that keep this film from being what it should be: a perfectly sweet predictable popcorn flick.
Trouble would be a perfectly adequate movie to casually watch on a Sunday afternoon with your dad but then again you could just get Field of Dreams on Blu-ray just as easily.
[Photo Credit: Warner Bros]
The heartbreak of illegal immigration is vividly displayed in this poignant story of nine year old Carlos (Adrian Alonso) a boy living in Mexico with his grandmother while his mother (Kate del Castillo) works as an illegal domestic in Los Angeles trying to make enough money to send home so the son she has been separated from can live a good life--even if it means being without her. When the grandmother suddenly dies Carlos decides to cross the border and look for mom. As his journey continues he encounters a woman (America Ferrera) and her brother (Jesse Garcia) who make tuition money taking babies into the U.S. In this instance she decides to help smuggle Carlos across by hiding him in her van. Once he lands in Tuscon he meets a sympathetic middle- aged migrant worker named Enrique (Eugenio Derbez) who accompanies him to East L.A. Once there they try to locate his mother--their only clue being a vague description of the area around a pay phone she used in her weekly calls home to Carlos. The film which is shot mostly in Spanish with some English language scenes as well offers great big screen opportunities to some of Mexico’s biggest television stars including telenovela favorite Kate del Castillo. She delivers a moving performance as a mother living separated by borders with her only son but living “under the same moon.” The film really belongs however to young Alonso--a natural in front of the cameras who impressed American audiences as Catherine Zeta-Jones and Antonio Banderas’ son in The Legend of Zorro but breaks out here as the determined Carlos. Both create a touching mother-son relationship even though they are never in any scenes together. Also playing against type is superstar Derbez unquestionably one of Latin America’s most popular actors who develops a winning chemistry with Alonso making every moment of their screen time count. Ugly Betty’s Ferrera also turns up for some effective moments including a heart-stopping sequence in which she is questioned by border guards while the van carrying the hidden Carlos is searched. Although she has made some award winning shorts Under the Same Moon represents the first feature length film for Mexican-born Patricia Riggen. She succeeds on all levels emphasizing the characters in the story over the potentially political hot button topic of immigration which her film so eloquently humanizes. Working with screenwriter Ligiah Villalobos the two women give urgency to the tragic separation of mother and son caught between two disparate cultures. Given the time restraints and low budget Riggen’s command of the camera is impressive particularly in the inventive and almost spiritual ways she manages to bring mother and son together on screen even though they never share a shot. Use of music is also hugely effective with Carlos Silotto’s melodic score recalling a similar film about a young dreamer Cinema Paradiso. Ultimately though Under the Same Moon lives or dies with the actors and Riggen’ spot-on casting decisions--particularly in the case of Alonso--really lift it to new levels. Most of the actors have extensive TV followings and Riggen knew by casting them she would risk the wrath of Mexican film critics who uniformly look down on television. Doesn’t matter. Under the Same Moon has universal appeal and should find approving audiences around the world.
Once respected NYPD detective Jack Mosley (Bruce Willis) is now pretty much on his last legs literally and figuratively. He drinks is relegated to a desk job and walks with a limp. One morning after a long shift he’s corralled into transporting a petty criminal Eddie Bunker (Mos Def) to the courthouse 16 blocks away so he can testify by 10:00 a.m. What Jack doesn’t know is that Eddie is one of the key witnesses in a case against crooked cops--that is until the two start getting shot at. Then it becomes crystal clear. The main bad guy Jack’s former partner Frank (David Morse) basically lets Jack know Eddie will never testify to just go ahead and hand him over but Frank underestimates Jack’s desire to finally do something good. So Jack and Eddie fight their way to the courthouse block by gut-wrenching block. Oh no there’s nothing formulaic about 16 Blocks not at all. In a film as predictable as this the only thing that’ll make it stand out is the performances. 16 Blocks nearly succeeds--but not quite. It would seem Willis is playing a character he’s played a hundred times before--the misunderstood and slightly unorthodox cop with a heart of gold. But as Jack the actor does a nice job trying out some new things namely playing fat bald and grizzled. You can almost smell how bad Jack’s breath has to be. Rapper/actor Mos Def who usually brightens any film he’s in also tries his hand at something different but his choices aren’t as smart. As the talkative and affable Eddie Mos comes up with one of the more annoying nasally accents ever recorded. After about five minutes of screen time you desperately want him to stop and say “Just kidding! I don’t really talk like this.” But he doesn’t. It’s too bad something like an accent can ruin an otherwise decent performance. Old-school director Richard Donner best known for his Lethal Weapons is a consummate professional when it comes to making these kind of movies. In other words he pretty much paints by numbers. We watch Jack and Eddie get out of one tight situation after another as the gaggle of bad cops try to gun them down. I mean 16 blocks doesn’t seem that far to go so they better throw in as many highly implausible obstacles as they can. Chinese laundries alleyways rooftops subways. And yes even a city bus which the pair--who have by now bonded big time--has to hijack. Donner also employs a popular but nonetheless annoying technique of zooming in when the action heats up so you can’t really see what’s going on. Even if you’re addicted to action movies--a Bruce Willis action movie no less--16 Blocks just doesn’t deliver the goods.