Trouble with the Curve (PG-13)

From its opening credits, “Trouble with the Curve” positions itself as another sports-infused feel good drama. There’s the aging sports professional who won’t retire. There’s the over-dedicated daughter who wants nothing more than to please her father. And then there’ a slew of supporting characters that add drama to the proceedings, where a more focused look might have shown more heart and depth. However, while not an independent film that explores these complexities, “Trouble with the Curve” doesn’t completely disappoint, and it’s ultimate salvation may be that it attempts to overcome the confines of its hallow script. Predictable plot twists and somewhat shallow characters might, however, aggravate less patient viewers hoping for something more. 

The movie centers around aging Atlanta Braves scout Gus (Clint Eastwood), who swears by his old habits. Against a modern age of computer systems that predict key up-and-coming players, Gus prefers to go out into the field and do things the old-fashioned way. However, there’s a rub – his sight is failing, an ailment which he struggles to keep hidden from his boss, his friend and co-worker Peter (John Goodman), and most of all, his daughter Mickey (Amy Adams). Along the way the movie picks up the rest of its supporting cast, namely an obnoxiously-ambitious pro scout for the Atlanta Braves (Matthew Lillard), as well as Johnny (Justin Timberlake), an ex-sports star who had a shot at the majors but now trails after Gus, hoping to be like him but settling for sports announcing as a way to stay in the game.

Criticism of “Curve” comes in that the first half of the film is utterly slow, focusing mostly on Gus’ failing sight and Mickey’s mad dash to make partner at her firm, as well as a tiresome side-plot involving a fellow lawyer Mickey is dating. There’s also problematic acting from most of the players, most notably Lillard as the film’s villain Phillip Sanderson. Although his character is painted paper thin, he does the role no favors, reminding audiences more of half-hearted attempts in films such as “Scream” and “She’s All That,” with less heart and likability than more recent attempts such as his supporting role in 2004’s “Wicker Park.”

Further, one of the film’s bigger disappointments unfortunately lies with Eastwood, whose performance here really fails to garner any more excitement or depth than his pantomime act at the Republican National Convention talking to an empty chair. Most of his speech is gruff and predictable, particularly during scenes that the movie intends to be heartfelt. You can tell there’s a story Director Robert Lorenz is desperately trying to uncover; however, with virtually no dialogue and direction, Eastwood fans may be reminiscing for the award-winning “Gran Torino” while suffering through many of “Curve’s” over-long scenes.

Much of the movie, however, is thankfully saved by a brilliant performance by Amy Adams, who plays Gus’ daughter with skill, heart, and wit. Beginning scenes showing her claw her way to the top of her law firm are little more than banal. However, when the movie demands more from her during emotional scenes (particularly scenes where she examines her relationship with her father) she delivers, selling Mickey’s hurt and disappointment with her father as tangible pains rather than throw-a-way contrivances.

Additionally, I must say that I was pleasantly surprised with the acting of Justin Timberlake who plays fellow scout and possible love-interest for Mickey. After his over-the-top and borderline offensive role as Sean Parker in 2010’s “The Social Network,” I was expecting to be blown away by sarcastic charm and machismo. However, I was pleased to see Timberlake turn in a toned-down and real performance that added, rather than subtracted, to the film’s second half.

“Trouble with the Curve” has moments that make successful films, films that you could call “long-weekend” epics meant to initiate introspection and change. “I never wanted to be a lawyer,” Mickey states, and long before she gives the reason we know it’s to make Gus happy. And in the same way as her overbearing firm begins to question her commitment despite working herself mad, the film makes a definitive statement – that perhaps its never too late to do what you love. Mickey’s love of baseball (her eye for talent rivaling many actual scouts, even the dedicated Johnny) apparent, it strikes an anthem for anyone stuck in a rut when she hurls her Blackberry into the trash. A weaker movie could have spoiled this scene; however, in Adams’ hands the scene comes off more a cathartic decision and less a predictable conclusion.

Of course, there is a plot involving an up-and-coming star which causes a riff between Gus and his organization, but that’s not the heart of the film. “Trouble with the Curve,” amidst some disappointing acting and unnecessary scenes is not a total waste, and will probably appeal to those with patience for slow films that blossom in the third act, but might lose most of its intended audience in the process. “Curve” would have worked well as an independent film, but by going for the Hollywood crowd loses most of its impact and a lot of its heart. It’s not a failure, but is forgettable, which ultimately subtracts from what could have been a much more endearing film had it made a few less obvious decisions.

– by Mark Ziobro