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By Alan Scherstuhl
By Mark Holcombe
By Scott Foundas
By Nick Pinkerton
By Michael Atkinson
By Scott Foundas
By Keith Phipps
By Alan Scherstuhl
At the time of this writing, the Oakland Athletics sit a distant third in the American League West, 18 games behind the Texas Rangers. They are long removed from the summer of 2002 when they were revolutionaries who reinvented baseball by embracing the radical teachings of a pork-and-beans plant security guard who shed the sport of its myths, romanticism, and pageantry and turned it into a math equation.
directed by Bennett Miller
area theaters, starts Friday
Michael Lewis's book Moneyball was published in 2003, in the immediate wake of the Season That Shook Baseball. The story didn't look like much on the surface: Billy Beane, a ballplayer-turned-scout-turned-GM, and Paul DePodesta, an Ivy League wonk, took a measly $39 million salary budget, crunched the numbers, and turned overlooked, undervalued statistics into overachieving, undervalued ballplayers, and ended up...losing the American League Division Series to the Minnesota Twins. Yet the book would serve as a bible for every baseball executive and stat-obsessed fan. The A's stink now only because all the other teams beat them at their own game.
Lewis's account serves solely as inspiration for its engaging big-screen counterpart. Director Bennett Miller (Capote) and writers Aaron Sorkin and Steve Zaillian barely touch on sabermetrics and the influential work of statistician Bill James. The filmmakers wisely boil down Beane and DePodesta's complex formulas to a single, simple thesis: Sign ballplayers who get on base more than anyone else. Then they hand over the movie to Brad Pitt as Beane, a former first-round draft pick by the New York Mets who exorcises his dashed-dream demons one trade, thrown chair, and turned-over watercooler at a time.
It turns out that translating the numbers-heavy Moneyball for the multiplex was fairly straightforward after all. Like every other sports movie, it's the story of the Little Team That Could. The film begins at an ending: October 15, 2001, when the Yankees, with a payroll of $114 million, knock the low-budget A's out of the ALDS. Beane loses more than that game: Three of his best players are leaving, their price tags too high for Oakland. He can't afford to replace the brand names, so he and Peter Brand (the DePodesta character played by Jonah Hill, terrific in his transition out of stoner comedy) stock their dugout with rejects and has-beens whose potential only they can see. Everyone else, including manager Art Howe (Philip Seymour Hoffman) and scout Grady Fuson (Ken Medlock), believes they will destroy their team and their sport.
Fuson tells Beane that the GM has declared war on baseball just to get even for his failed playing career. And he might have a point: Only when Beane is with his 12-year-old daughter does he seem at all at peace and at all sympathetic, which might be why the filmmakers wedged her into the plot.
"It's hard not to be romantic about baseball," Beane says during a rare moment of happiness as the A's become, for a few weeks, the greatest team in the history of the American League. That's thanks to the home-run heroics of a forgotten player given one last chance by Billy Beane. It really happened, it's really corny, and it's really great. Who needs Roy Hobbs? Hey, Dad—you wanna have a catch?
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