Tag: movie review

Moneyball (2011) – A Movie Review

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Moneyball is a somewhat fictionalized story about how Oakland Athletics’ General Manager Billy Beane (played by Brad Pitt) brings advanced statistical analysis (sabermetrics) to the management of a major league baseball team.

When the A’s are beaten in the fifth game of the 2001 ALDS series by the New York Yankees and subsequently the Yankees and Red Sox steal away the two best players on the team (Jason Giami and Johnny Damon) through free-agency and the A’s owner tells Beane that there is no money to replace these stars, Beane searches for a way to overcome the unfair disparity of his team’s poverty.  Beane discovers a young statistician in the Cleveland Indians management team; Peter Brand (played by Jonah Hill) who understands sabermetrics and brings him to Oakland to help him compete for the American League championship against teams like the New York Yankees who have three times the salary budget.

(Spoiler Alert – Skip down to last paragraph to avoid spoilers and read recommendation)

The movie chronicles Beane and Brand battling with the team’s scouting personnel and the A’s manager Art Howe (played by Philip Seymour Hoffman) while being crucified in the press and social media by fans and pundits because of the unorthodox trades and policies that they institute.  Everything is based on what statistically will reduce the number of outs and produce more runs and more wins.  They forbid players from bunting or stealing bases.  The assign a badly injured catcher (Scott Hatteberg portrayed by Chris Pratt) as the team’s first baseman because he has a slightly higher on base percentage than the All-Star first baseman they already have.  They hire a pitcher who can only throw in the 80-mph range because his price tag is a bargain.  And the first half of the season is a catastrophe.  But Billy sticks with Brand’s system and before the end of the season the A’s gel as a team and even break the record for longest winning streak in AL history (twenty games).

But of course, statistical success is a long-term concept and in a short series like the playoffs big money still buys baseball heroes who hit lots of home runs in October.  And the A’s lose in the playoffs again.  But their success with the meager resources provided catches the attention of more well-funded teams and the owner of the Boston Red Sox; John Henry offers Beane an unheard-of salary of $12.5 million to be general manager of his team.  Ultimately Beane remains in Oakland for personal reasons (being close to his daughter) but sabermetrics wins over major league baseball and is now the standard method for building a team in baseball.

I’ve read that many of the entertaining details of the story are fictionalized.  And I can believe that.  But this is a movie not a history lesson so the real question is whether the movie entertains.  And the answer to that (in my opinion) is absolutely.  Pitt portrays Beane as a former player who has a grudge against the scouting system that lures kids, who won’t be successful baseball players, into the game.  He gave up a full scholarship to Stanford to play for the Mets and then wash out.  He sees a scientific evaluation of players as the way to avoid all the chaos that, in his view, the scouts seem to cause.  Pitt has a good script and he makes the most of it.  And Pitt and Hill have a very amusing Mutt and Jeff relationship with the confident Beane mentoring the awkward and inexperienced Brand in how to work with the athletes.  Philip Seymour Hoffman as Art Howe gives a disgruntled old-timer portrayal that fits the story well.  And there are more than a few very strong performances among the actors portraying the scouts and ball players.  All in all, it’s a very interesting baseball story and I think well worth the time to watch it.  Highly recommended to baseball fans and movie fans in general.

The Library is Full of Them

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As I mentioned in an earlier post Disney (and by extension Hollywood) realizes that they’ve alienated the male half of the human race.  And as I gleefully mentioned this is all their own fault and it’s hilarious that it’s a surprise for them.  And after torching two of the most valuable male-oriented intellectual properties (Star Wars and the Marvel Cinematic Universe), instead of trying to fix the problems and repair the damage to these brands they’ve decided to bury their losses and start from scratch with brand new franchises.

Well, you’ve got to admire their optimism.  Maybe they haven’t heard the old saying about the definition of insanity being doing the same thing over and over again and expecting a different result.  But it’s their money (or their stockholders anyway).

But in a sense, they’ve got it half right.  Half of their problem is that sequel after sequel has drained all the life out of their franchises.  So new stories and characters is a good direction to go in.  People like to be entertained and meeting new characters is part of that entertainment.  And even though there are only a few overarching plots to an adventure story it helps to change the names of the heroes, villains, magic rings, super-weapons and princesses from story to story.

So far, so good.  But now comes the tricky part.  Listen up Disney:

DON’T MAKE THE HERO A GIRL-BOSS.  THE GIRL IN THE STORY IS THE LOVE INTEREST OF THE HERO.  SHE IS THE REWARD FOR THE HERO SAVING THE DAY.  SHE MAY TAKE UP A BOW OR A DAGGER IN A PINCH BUT SHE’S NOT THERE TO SAVE THE HERO AND SHE’S NOT SUPPOSED TO BE IN CHARGE.

I hope I was clear there.  Use the traditional hero saga as the backbone of the story and find a writer and a director who can work with such a story in a creative and entertaining fashion and you will make billions of dollars.  Just as a for instance Joss Whedon directed the first Avengers movie.  It made $1.52 billion worldwide at the box office.  That’s a lot of money.  And part of the reason for that enormous sum is because Whedon knows how to make likable characters in a movie.  He blends humor, action and drama in the correct proportions and at the right moments.  In other words, he’s not a hack like all of the DEI directors that have bungled the last several years of your franchise flops.

Now, granted he is demanding and sometimes slightly abusive toward the “talent.”  But they’re getting paid millions of dollars to dress up in spandex and fool around in front of a green screen.  The least they could do is take a little hectoring from a prima donna director to earn those millions.  So anyway, my advice for Hollywood is to find the few creative talents out there; directors like Whedon and Christopher Nolan.  And purchase the film rights to books that millions of people love.  And don’t mess with the stories and characters.  Put them faithfully on the big screen and then instead of trying to recreate success with endless sequels move onto another story!  Did you know there is more than one book in the library?  There are several.

I know it’s a radical departure. But it’s just so crazy it just might work!

A Window into Death

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This morning when I woke up the house was noticeably cooler than it’s been in a month.  It was sixty degrees or thereabouts.  So, Fall is making its entrance felt.  Lots of leaves under the maple tree and the grass is drying out.  The raspberry canes are still producing tons of berries but the lower leaves are all turning yellow.  Well, the kids go back to school on Monday and so this is the end of summer by decree and by degree.  So be it.

Well, it was a terrific summer weatherwise and we did most of the things we wanted to.  And we had a big party at the end.  So now it’s time to anticipate the good stuff that comes with Fall.  Well?  I guess the only thing about Fall that’s good is the long evenings allow us to watch old movies and plan for the holidays.  Certainly, there’s more to do than that.  Fall is when you’re supposed to do the repairs and weatherproofing that prevents winter from doing a lot of damage.  And I do plan to do that stuff.  But let’s be honest here.  I hate that stuff.  I’ve been talking about getting some tarps to cover over the woodwork on the balconies and the outside staircase for about ten years and I haven’t gotten any closer to doing it yet.  I’m just an immensely lazy man whose strong suit is dithering, waffling, vacillating and procrastination.  Of course I blame Camera Girl.  If she were half as good at nagging as she is at cooking, I’d be a model husband.  But it’s the cross I bear.

So, a couple of nights ago TCM had “Psycho” on and Camera Girl was watching it.  Well, I was busy but I noted her choice in passing.  And while I was working in the dining room, I could hear snatches of music and dialog.  And I could tell it was getting toward Marion Crane’s (Janet Leigh’s) fateful arrival at the Bates Motel.  So, I dropped what I was doing and sat through Marion’s supper with Norman and all the way through her murder and subsequent deposition in the “swamp.”  By the way, how much of Southern California actually has any swampland?

Now I’ve seen Psycho dozens of times.  And the murder scene has always struck me as well done.  It’s well staged and well shot.  And having seen it so many times allowed me to watch it this time analytically.  And I thought that the critical snatch of film is when Marion is luxuriating in the shower and the camera shifts to the room through the shower curtain and you see the door open and a silhouette appear in the doorway.

That is the moment when death has entered the frame.  The actual killing with the blood and piercing, screaming “music” is almost an anticlimax.

And then I watched Marion Crane die from loss of blood.  And it was remarkably well acted and achingly sad.  Here was a young woman whose impatience to be with the man she loved had driven her to steal an enormous amount of money.  But just as she’s figured out what she needs to do to escape from the trap she’s gotten herself into, fate steps in and feeds her into a buzz saw of insanity.

The rest of the movie is a murder mystery and a psychological horror show.  But the end of the murder scene is a tiny window into an intensely poignant moment; the death of a human being and specifically the death of a beautiful young woman.  Janet Leigh’s face conveys the reality that Marion Crane’s brain is shutting down from lack of blood and her world has shrunk down to just trying to grasp the shower curtain with her hand.  And then she dies and her body lies crumpled on the floor and her unfocussed eye stares into space.  That’s the best acting in the movie.

So, despite the spectacle from then on, the interesting part of the movie is the first forty minutes that record Marion Crane’s date with destiny.  And I’ll include her conversation with Norman.  He does communicate his pathetic version of what he thinks the world is about.  And in some sense, he provides a sounding board to allow her to think about what to do about her own private trap.

Well, anyway, it’s Fall and old movies are the thing to do.

Long, Long Ago in a Studio Far, Far Away

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As the tent-pole summer movies of July fade into August obscurity and dinosaurs, Superman and lesser Marvel superheroes get rated and dissected by the movie critics I think it has been established beyond a shadow of a doubt that the failure of Hollywood to replicate the billion-dollar paydays from earlier versions of Star Wars and the Avengers franchises can now be definitively explained.  They forgot that a superhero movie (or even just a plain hero movie) requires a hero.  And the requirements of a hero (whether in book or on a screen) include that we like the hero.

And that seems to be where Hollywood has gone off the rails.  They’ve managed to make a bunch of movies where the heroes are unlikeable.  For the most part these unlikeable heroes have tended to be of the type currently known as the “girl-boss.”  The prime example of this category is Rey, played by Daisy Ridley in the Star Wars movies.  The type includes the following traits:

  • Although small and thin she is completely capable of defeating men many times her size.
  • She hectors male characters about their obvious shortcomings compared to her.
  • Completely humorless.
  • Has no flaws.
  • Has no setbacks.

Now, this sort of character fits perfectly into the social messaging of all modern Hollywood films.  It allows older franchises with male protagonists to be replaced with the girl-boss.  Examples include Rey in Star Wars replacing Luke Skywalker, Helena Shaw replacing Indiana Jones and Captain Marvel basically replacing all the Avengers.

The problem with these replacements is that the producers think that just saying that their new characters are just as good as the originals (if not better) is enough.  For some reason they didn’t think it would be necessary to hire good writers and directors to make the movies exciting and entertaining.  But as it turns out they are extremely important if you don’t want your movies to be unwatchable crap.  And that is the thing that all these movies share.  They’re awful.  And unfortunately for Disney they’ve been making these “better” movies and television series in the Star Wars and Marvel series for about ten years and they’ve completely dissipated the enthusiasm and good will of their legacy audiences that paid billions of dollars to see the older movies that actually were well written, exciting and entertaining.

Over the last six months it has finally dawned on Disney (and the other studios) that they’ve killed the goose that lays the golden eggs.  They’ve alienated about 70% of their audience and destroyed a machine that printed cash.  From what I’ve read, the most recent Marvel movie “Fantastic Four” went to lengths to not go down the girl-boss lane and even had a decent script that could be enjoyed as an adventure movie.  The problem is that most of their old audience didn’t bother to give it a try and so the movie while not a complete bomb is struggling to become profitable.

Regardless of whether “Fantastic Four” makes money I think we may be at a turning point in the fantasy-adventure genre.  It has finally dawned on the studios that social messaging for the woke agenda is box office poison that has a tiny audience.  As the recent purchase of Paramount by Skydance Media demonstrates, entertainment that doesn’t make money ends up on the auction block and then the chopping block where the unentertaining and unprofitable components get sliced off and thrown in the garbage.  And similar things are happening all over the media and entertainment world.  CNN, MSNBC and CBS are all finding out that woke ideology doesn’t equal profitability and if they can’t adapt to a world that isn’t amused by it, they’ll be out of work.  I guess I’m an eternal optimist but maybe, just maybe, in a year or two decent fantasy adventure may be produced in Hollywood again.  At least it could happen!

The Boys and I Give Superman (1978) a Try

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Because of the new Superman movie coming out I had a showing of the 1978 Christopher Reeve version for the two younger grandsons.  I was curious to see how they reacted to the somewhat slow startup to this version.  After all I think half the movie is gone before Superman actually dons the suit.  But from all appearances they liked it.

Now the youngest one is a very analytical viewer of science fiction and fantasy so he gave me a short lecture on why kryptonite kills Superman.  Come to think of it he gave me several lectures about various esoteric aspects of the Man of Steel; how he could fly, how he got from one galaxy to another so quickly, why he could never die of old age, how he was able to handle people without killing them by accident.  It was very interesting to find out he had worked out all of these theories in just the time since the beginning of the movie.

I could sense the greatest annoyance with the movie when Lois Lane was on the screen.  Apparently, the love story wasn’t intensely popular with this part of the audience.  But somehow, they soldiered through.  By the time Superman was flying around Earth at ludicrous speed to turn back time and save Lois from death I think they were prepared for the end.  I’m not sure they felt Gene Hackman as Lex Luthor and Ned Beatty as his mentally challenged henchman were sufficiently serious to be credible enemies for Superman.

But by the time the (extremely long) credits were rolling they seemed to forgive some of the weaknesses of the production and wanted to discuss viewing (at least) Superman 2.  Apparently, they wanted to see the return of General Zod after I hinted that he was much more formidable a foe than Luthor.  So maybe we’ll have a second Superman feature this month.

It was funny seeing this movie for the first time in forty-seven years.  What struck me most was how odd Margot Kidder was as Lois.  The rest of the actors and actresses came across as much more professional.  Kidder seemed almost like a fish out of water.  Maybe that was the vibe they were going for.  Probably the worst acting and dialog was Marlon Brando as Jor-El; Superman’s Kryptonian father.  All of the exposition and lecturing about his duty to help humans and his fate is a bit boring.  But I guess some introduction is necessary to establish how he ends up as the man flying around in the suit.

My impression of Christopher Reeve in the movie is very positive.  He brings enormous likeability to the character and he does the comedy part of the role very deftly.  As far as the special effects in the film, this was 1978.  All of the effects are non-CGI.  To a modern audience some of them are less than overwhelming.  There is a scene where Superman is causing an avalanche to stop a flooded river from washing away a town.  But the scene is so obviously done with a miniature set using some sand and pebbles that it’s kind of silly.  But that couldn’t be helped back then.

All in all, the boys and I gave a thumbs up to Superman (1978).  Now bring on General Zod and “Planet Hooston!”

Tom’s World – 31MAY2025 – More About Movies

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TomD

Of the book based Sci-Fi movies of which I’m aware, the one that was most true to the book was the original 2001. Both Jackson’s Lord of the Rings and the latest version of Dune at least try but both are handicapped by intricate and massive substrates that are almost impossible to set up and capture in the context of 2 hour +/- videos.

Although Blade Runner was barely related to it’s source material, “Do Androids Dream of Electric Sheep”, by Phillip K Dick, it succeeds on it’s own as a brilliant piece of work.

Though the Star Trek movies will never be mistaken for serious or brilliant work, I still remember my disappointment when the 1st episode without the Shatner/Nimoy cast or the Picard group, offered a close to continuous series of chase scenes in lieu of a plot.

The 1st several Star Wars movies sucked as Sci-Fi but succeeded as entertainment. A decrepit and distorted Hollywood morphed the extension of that series into something bizarre.

I’m almost terrified that Hollywood will take my all time #1 favorite movie, Master and Commander and remake it as a multicultural, multi racial, LGBTQ+ crew fighting for racial equity.

But Which Story?

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The previous post (“Have I Got a Story for You”) produced some stimulating comments and feedback (below in bold print):

I think it just proves there’s a ready market for good science fiction out there.  Larry Niven’s Known Space; David Weber’s Honor Harrington stories; Niven and Pournelle with “Footfall” “The Mote in God’s Eye” and “Lucifer’s Hammer.”  The stories are already there.  But apparently the powers that be want a different kind of story but for an audience that doesn’t like science fiction!

For adults all of the below comments give ideas that should easily be translatable to cinema or television series productions.  The technical problems have long ago been conquered with computer generated imagery.  The only problems are lack of imagination and ideological blindness.

And the people who want the good stories are both young and old.  I’d love to be able to bring my grandkids to see age-appropriate science fiction that isn’t just poorly disguised gender and racial grievance propaganda but actually tells a good story about people they can relate to.

In the spirit of selecting something I could bring my grandchildren to (and enjoy myself!) I figure I’ll throw out a couple of safe but entertaining choices.

My first choice has some problems.  The story premise has become dated based on the current state of the art in computing and thinking machines.  It’s Heinlein’s “Starman Jones.”  Max Jones’s unusual rise through the ranks from stable boy to astrogator was predicated on his “eidetic” memory and abilities as a lightning calculator.  Well, that would seem to be a kind of silly plotline today.  Even the most phenomenal human mind cannot hope to compare with the speed and precision of a modern computer.  So, some other skill will be needed to distinguish the young hero.  The FTL process could be changed so that sensing the space warp is an individualistic skill that he happens to possess to an extreme degree.  Or some other skill, whatever.

But the rest of the storyline works fine for a book or a movie concept.  Max and his mentor Sam can show their qualities on some lost planet in a star system far, far away.  I think it would make a billion bucks.

And even more apt Heinlein juvenile would be “Have Spacesuit Will Travel.”  The protagonist Kip Russell goes through a collection of adventures that are ready made for the big screen.  He’s accidentally drawn into an interstellar police action between a galaxy-spanning civilization and a race of evil predators that have invaded our solar system with the intent of conquering humanity and using them as food.

It’s got FTL space travel, time travel and high adventure.  It even has humanity put on trial in front of a galactic court to determine whether they deserve to exist.  What’s not to love.

And of course, the Heinlein juveniles include at least a half dozen more stories that are highly qualified to be considered for the big screen.  All it would take would be a director with a decent ear for dialog and a script writer who isn’t totally woke.

So, any of you guys aware of any recent science fiction that would be appropriate for adolescents and young adults?  It’s a bit more of a specialist niche but I’m sure it exists out there.  All that has to be done is look.

 

Ed Brault

I would love to see Larry Niven’s Known Space stories and novels brought to the screen. Big, sweeping arcs like Ringworld Series, The Fleet of Worlds, or the epic Man-Kzin Wars; or smaller sets like the Gil Hamilton organlegger detective stories, or the individual novels that help flesh out the Known Space Universe: Becalmed in Hell, the Coldest Place, World of Ptaavs, A Gift from Earth, and especially, Protector, and the related Peace Corben novellas. These would probably be best done like The Expanse; a multi-year episodic TV drama.

The biggest problem would be preventing the studio suits from doing a Disney on the stories. I would consider that an Organ-Bank-worthy crime!

 

Abraham

David Weber’s Honor Harrington series would work well, even with a woman hero.

 

Tregonsee314

I think Ringworld has been in development a couple times, most recently with Amazon/MGM. It is Tough to get a large audience for it (especially as you move into Ringworld Engineers and later) as it wanders into hard R territory though one COULD limit that somewhat. It also would probably push limits of even current special effects for Kzin and Puppeteers. I love Protector it has the advantage that it sticks with a couple characters across its story. It probably would want to be a limited miniseries as it is a smidge too long (at 218 PG) to make a single two-hour movie, though you could perhaps time compress some parts and maybe get there. My own favorite for a series (or maybe 2 movie pair like the recent Dune) would be Niven and Pournelle’s Footfall, if for no other reason than the final battle using Project Archangel.

 

TomD

Reply to  Tregonsee314

It’s been decades since I read Footfall, I really would like to reread that. Niven alone

Niven and Pournelle put out so much. I still think Lucifer’s Hammer was the absolute best of the type.

Ahhh, but Ringworld made “real” and the Mote in Gods Eye—–

 

Ed Brault

Lucifer’s Hammer: The surfer dude riding the tidal wave would be worth the price of admission!

 

Tregonsee314

So many attempts and so little success. Looking for successes I think the latest incarnation of Dune, although flawed in some aspects, was probably the most successful of the 3 (4 if you count the aborted Jodorowsky attempt). I think the Jackson Lord of the Rings was very good even without certain sections (sorry Tom Bombadil, you just aren’t central to the plot). The Expanse did middling well, though I lost track of it mid-2nd season.

The failures are more plentiful. Jacksons Hobbit was a mess with unnecessary additional characters and subplots, even though the acting (Bilbo and Thorin especially) was superb. The Foundation series by Apple mangles the timeline (mostly because with the longer timeline there is no character continuity but for the shade of Hari Seldon) and adds wokish subplots all over the place. Effects were nice and Asimov having ONLY humans in Foundation/ Robots universe simplifies that. All in all, it was a disappointment and I bailed after 3-4 episodes. I think it fell flat for the public because many of its ideas seemed like retreads (E.g. Trantor as a planet covered with civilization feels like warmed over Coruscant even though Trantor predates Coruscant by 20+ years and likely inspired Lucas). And Rings of Power? Mauling the lore of Tolkien to pander to a variety of subgroups combined with puerile 4th-grade fanboy scripts produced an utter catastrophe.

Almost anything Sci-fi that Hollywood has done without a sci-fi novel or story at the heart is a mess. Hollywood seems to want to revert to the pre–Star Wars Sci-fi where all is Dystopia and nuclear hellscape. That things might work out is anathema. Even the vaunted Federation of Star Trek has been being mauled with its hidden perfidy in Discovery and Picard. Not to say dark is bad. Babylon 5 was amazing (especially given the limitations of cost and mid 1990’s special effects).

What seems to matter most is that the primary vision for converting the Sci Fi to the screen needs to LOVE the material. JMS wrote much of B5 and was its director, Peter Jackson Adored Lord of The Rings and co-wrote the script, Denis Villeneuve is a Dune/Herbert fanboi. Each loved the story in its original form and tried very hard to leave the original plot beats and characterizations in place, not bend them to tell their own story like Rings of Power or Foundation did.

Guest Contributor – Tregonsee – 28MAY2025 – Science Fiction Movies

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So many attempts and so little success.  Looking for successes I think the latest incarnation of Dune, although flawed in some aspects, was probably the most successful of the 3 (4 if you count the aborted Jodorowsky attempt). I think the Jackson Lord of the Rings was very good even without certain sections (sorry Tom Bombadil, you just aren’t central to the plot). The Expanse did middling well, though I lost track of it mid 2nd season.

The failures are more plentiful. Jacksons Hobbit was a mess with unnecessary additional characters and subplots, even though the acting (Bilbo and Thorin especially) was superb. The Foundation series by Apple mangles the timeline (mostly because with the longer timeline there is no character continuity but for the shade of Hari Seldon) and adds wokish subplots all over the place. Effects were nice and Asimov having ONLY humans in Foundation/ Robots universe simplifies that. All in all it was a disappointment and I bailed after 3-4 episodes. I think it fell flat for the public because many of its ideas seemed like retreads (E.g. Trantor as a planet covered with civilization feels like warmed over Coruscant even though Trantor predates Coruscant by 20+ years and likely inspired Lucas). And Rings of Power? Mauling the lore of Tolkien to pander to a variety of subgroups combined with puerile 4th-grade fanboy scripts produced an utter catastrophe.

Almost anything Sci-fi that Hollywood has done without a sci-fi novel or story at the heart is a mess. Hollywood seems to want to revert to the pre Star Wars Sci-fi where all is Dystopia and nuclear hellscape. That things might work out is anathema. Even the vaunted Federation of Star Trek has been being mauled with its hidden perfidy in Discovery and Picard. Not to say dark is bad. Babylon 5 was amazing (especially given the limitations of cost and mid 1990;s special effects).
What seems to matter most is that the primary vision for converting the Sci Fi to the screen needs to LOVE the material. JMS wrote much of B5 and was its director, Peter Jackson Adored Lord of The Rings and co-wrote the script, Denis Villeneuve is a Dune/Herbert fanboi. Each loved the story in its original form and tried very hard to leave the original plot beats and characterizations in place, not bend them to tell their own story like Rings of Power or Foundation did.

Guest Contributor – Ed Brault – 27MAY2025 – Niven’s “Known Space” on Screen

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I would love to see Larry Niven’s Known Space stories and novels brought to the screen. Big, sweeping arcs like Ringworld Series, The Fleet of Worlds, or the epic Man-Kzin Wars; or smaller sets like the Gil Hamilton organlegger detective stories, or the individual novels that help flesh out the Known Space Universe: Becalmed in Hell, the Coldest Place, World of Ptaavs, A Gift from Earth, and especially, Protector, and the related Peace Corben novellas. These would probably be best done like The Expanse; a multi-year episodic TV drama.
The biggest problem would be preventing the studio suits from doing a Disney on the stories. I would consider that an Organ-Bank-worthy crime!