2012, Clint Eastwood, Amy Adams, Justin Timberlake. Directed by Robert Lorenz. Written by Randy Brown.
Clint Eastwood entertainingly growls and scowls his way through yet another film about an old curmudgeon unwilling to make meaningful connections with the people who want to be close to him.
Trouble with the Curve is this year’s response to last year’s Moneyball. Remember that one? It was the true story of how using a computer to analyze statistics could accurately indicate which players were necessary to build a winning team. This time around we are treated to a story about how no computer program can replace the human instinct for spotting true talent and detecting potential flaws in kids who hope to become the next great Phenomenal Baseball Player. And, of course, there is one outspoken idiot in the organization who insists that the traditional method of sending seasoned scouts to evaluate potential talent is outdated and unnecessary.
Clint Eastwood is Gus, an aging baseball scout for the Atlanta Braves with failing eyesight who is unwilling to admit that he will soon be unable to perform his job. If he can’t see young ball players perform on the field, how can he rate their potential for success in the major league? Amy Adams is Mickey, his successful high-powered-attorney daughter who keeps her distance from her dad and is all but completely estranged from him. Justin Timberlake is a pitcher Gus recruited some years ago who shows up to scout the up-and-coming talent for the Boston Red Sox.
Life has thrown some interesting curves at these people. Gus has had to deal with losing his wife when his daughter was only six years old; Mickey has spent years trying to understand why her father abandoned her – twice; Justin Timberlake blew out his pitching arm and is now hoping for a job as a broadcaster, desperate to remain “in the game.” Trouble with the Curve offers nice performances from all of the actors, right down to John Goodman, Matthew Lillard, and Robert Patrick as the executives in the Braves’ organization.
One thing left me puzzled – even though Atlanta is a huge metropolitan city of great diversity, I expected to hear that pleasant and soft Georgia drawl from at least one or two people who are presumably from there. I mean, even in giant law practices in Atlanta, surely there are some native Georgians? In this instance the director apparently believes that southern accents belong out in the boonies of North Carolina along with quaint little aging motels and bars where young attractive people spontaneously break into a specific type of folk dance known as clogging. The clogging-in-the-bar scene provided an opportunity to let Mickey loosen up a little bit but it felt entirely contrived.
The good old “Hollywood” ending was also completely predictable, yet entertaining and satisfying. Don’t lose any sleep if you miss this one in theaters, but do catch it on cable or disc. Clint Eastwood is still reason enough to see Trouble with the Curve.