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Gareth von Kallenbach (980 KP) rated Moneyball (2011) in Movies
Aug 7, 2019
Baseball economics has long a source of serious debate amongst fans, players, and teams. The contentious issues of how to divide the revenue in an equitable manner led to the cancellation of the playoffs and World Series in 1994 and is still largely unresolved today. While smaller market teams are given funds from a luxury tax imposed on larger payroll teams, it still fails to provide an even competitive playing field when large market teams, such as the New York Yankees, can field teams with a $225 million-plus payroll while the smaller market teams have to make do with budgets often under $40 million.
Naturally, this has put many teams at a competitive disadvantage and most feel that they have no chance to win long-term, even as they develop cheap homegrown talent in their minor-league systems. They lose said talent to the larger market clubs once players become eligible for free agency. It is against this backdrop that the new film “Moneyball” starring Brad Pitt is set.
The film was based on the book of the same name which tells the story and philosophy of Oakland A’s general manager Billy Beane. Beane was a highly recruited baseball player at a high school who turned down a scholarship to Stanford for his shot at the major leagues. Unfortunately for Beane, his career was a major disappointment punctuated with numerous stops between the pros and the minor leagues which resulted in a very mediocre and forgettable career.
Beane got himself a job as a scout and in time worked his way to being the general manager of the Oakland A’s. As the film opens, Oakland has just lost a deciding Game 5 the New York Yankees, whose payroll at the time was almost $120 million greater than Oaklands. Adding further insult to injury, Oakland is unable to re-sign its three biggest stars as they accept large contracts with the Yankees, Red Sox, and other large market teams.
Unable to get any additional funds from his owner, Beane travels to Cleveland in an attempt to find affordable talent via trades. Beane is categorically rebuffed and told that he couldn’t afford many of the players that he’s asking about and that the ones he can afford are not be available to him.
Beane notices a young man, Peter Brand (Jonah Hill) during the negotiations, whose quiet input was heeded by the Indians, even though this is Peter’s first job since graduating from Yale with an economics degree. Beane gets Peter to confide in him about his beliefs that the traditional baseball method for evaluating talent is all wrong and that there is a better way to do it.
Intrigued, Beane hires Brand to be his assistant general manager and the two set out to rebuild the Oakland A’s on a budget. Needless to say this does not sit well with many of the talent scouts or manager Art Howe (a very believable Phillip Seymour Hoffman), who sees the recruiting of washed-up has-beens and never-weres by Beane as misguided and ridiculous.
But Beane and Brand are determined, and using statistical formula that looks at such things as on-base percentages and runs scored as opposed to batting average, home runs, and RBIs, the A’s quickly put together an unlikely team. It doesn’t immediately play out well for the hopeful general manager because Howe is unwilling to play many of the new players that have been brought on. Oakland quickly sinks to the bottom of the league, and many begin to question the sanity of Bean’s approach, to the point that even his young daughter worries that his days as a general manager are numbered.
The film does a good job at showing the inner workings of baseball and Pitt does an amazing job showing the complex nature of Beane. He is a single father dealing with the failure of his playing career, and his inability to get Oakland to be a consistant winner. He puts everything he has into this so-called outrageous scheme and is willing to see it through no matter the cost. Chris Pratt does great supporting work as Scott Hatteberg, one of Beane’s reclamation projects as does Stephen Bisop as aging major-league slugger David Justice.
The film stays very true to historical events and shows the characters as they are, flaws and all. While a true story, Peter Brand, is a fictional charcter based on Paul DePodesta who introduced Beane to the analytical principles of sabermetrics. The movie remains a very interesting character study as well as an examination of the delicate relationships between players, front offices, and ownership where wins and dollars are paramount even when many teams are struggling to make do with less.
That being said the film was a very enjoyable and realistic look at the inner workings of baseball that should not be missed.
Naturally, this has put many teams at a competitive disadvantage and most feel that they have no chance to win long-term, even as they develop cheap homegrown talent in their minor-league systems. They lose said talent to the larger market clubs once players become eligible for free agency. It is against this backdrop that the new film “Moneyball” starring Brad Pitt is set.
The film was based on the book of the same name which tells the story and philosophy of Oakland A’s general manager Billy Beane. Beane was a highly recruited baseball player at a high school who turned down a scholarship to Stanford for his shot at the major leagues. Unfortunately for Beane, his career was a major disappointment punctuated with numerous stops between the pros and the minor leagues which resulted in a very mediocre and forgettable career.
Beane got himself a job as a scout and in time worked his way to being the general manager of the Oakland A’s. As the film opens, Oakland has just lost a deciding Game 5 the New York Yankees, whose payroll at the time was almost $120 million greater than Oaklands. Adding further insult to injury, Oakland is unable to re-sign its three biggest stars as they accept large contracts with the Yankees, Red Sox, and other large market teams.
Unable to get any additional funds from his owner, Beane travels to Cleveland in an attempt to find affordable talent via trades. Beane is categorically rebuffed and told that he couldn’t afford many of the players that he’s asking about and that the ones he can afford are not be available to him.
Beane notices a young man, Peter Brand (Jonah Hill) during the negotiations, whose quiet input was heeded by the Indians, even though this is Peter’s first job since graduating from Yale with an economics degree. Beane gets Peter to confide in him about his beliefs that the traditional baseball method for evaluating talent is all wrong and that there is a better way to do it.
Intrigued, Beane hires Brand to be his assistant general manager and the two set out to rebuild the Oakland A’s on a budget. Needless to say this does not sit well with many of the talent scouts or manager Art Howe (a very believable Phillip Seymour Hoffman), who sees the recruiting of washed-up has-beens and never-weres by Beane as misguided and ridiculous.
But Beane and Brand are determined, and using statistical formula that looks at such things as on-base percentages and runs scored as opposed to batting average, home runs, and RBIs, the A’s quickly put together an unlikely team. It doesn’t immediately play out well for the hopeful general manager because Howe is unwilling to play many of the new players that have been brought on. Oakland quickly sinks to the bottom of the league, and many begin to question the sanity of Bean’s approach, to the point that even his young daughter worries that his days as a general manager are numbered.
The film does a good job at showing the inner workings of baseball and Pitt does an amazing job showing the complex nature of Beane. He is a single father dealing with the failure of his playing career, and his inability to get Oakland to be a consistant winner. He puts everything he has into this so-called outrageous scheme and is willing to see it through no matter the cost. Chris Pratt does great supporting work as Scott Hatteberg, one of Beane’s reclamation projects as does Stephen Bisop as aging major-league slugger David Justice.
The film stays very true to historical events and shows the characters as they are, flaws and all. While a true story, Peter Brand, is a fictional charcter based on Paul DePodesta who introduced Beane to the analytical principles of sabermetrics. The movie remains a very interesting character study as well as an examination of the delicate relationships between players, front offices, and ownership where wins and dollars are paramount even when many teams are struggling to make do with less.
That being said the film was a very enjoyable and realistic look at the inner workings of baseball that should not be missed.
It’s about 6 weeks since I finished season 3 of this incredible show from Netflix. I have been putting off writing about it, because I wanted to let it settle. And also because I have a hell of a lot to say about it. I am gonna try and be comprehensive, without giving too much away in terms of spoilers. I am going to assume you have seen some of it, or have heard the hype, at least. If you haven’t got around to it yet, then all I can say is: what are you doing with your entertainment life? Get on it, now! It is as ubiquitous as Breaking Bad, The Sopranos, or The Wire, and sits comfortably in that group for consistent quality and lasting impressions.
Season one first aired in July 2017. I heard good things very quickly, albeit with some hesitation. It was dark, sometimes literally, utilising a trademark washed-out effect visually, that instantly gave it a bleak feel, which was not to everyone’s taste, but I loved. General consensus had it that the writing was great; the situation and concept drew you in from minute one. In fact, I believe the first episode is one of the best pilots seen in the last decade, bar none. It made no bones about what we were to expect from the start: intelligent dialogue, a lot of tension and a hefty chunk of jaw-dropping brutality.
Jason Bateman has enjoyed a remarkable career in the last ten years, putting behind him a patchy child-star and B actor tag, to emerge as the go to guy for deadpan comedy pathos, rivalled only, perhaps by Paul Rudd. Ozark is Bateman’s show in many regards, fulfilling his ambition to produce and direct as well as act, and he is a superb central pivot to the show, as hard nosed accountant turned drug cartel puppet, Marty Byrde. He excels in all three roles on every level, and if you are a fan of his lighter work, chances are you will fall head over heels for his dubious charm in Ozark.
But, whilst he is the lynchpin of the show, and a compelling character in every subtley drawn way, there is so much more to the show than him. Laura Linney, as his initially timid wife, Wendy, is never less than interesting. Perfectly cast, utilising her skill for portraying strong yet flawed women at every turn; she grows into a character so full of contradictions and conflicts, that you change your mind whether you like her or not almost episode to episode. Time will tell, but she may yet emerge in season 4 as the most fully realised character in the show, depending on how her arc ends. The potential is huge, and despite a CV of solid roles over the years, this could be the defining work of her career. It’s already close.
Then there are the kids in this very modern nuclear family, Charlotte and Jonah, played by Sofia Hublitz and Skylar Gaetner. These characters could have been set decoration in lesser hands, but in this show they are given the chance to grow and become pivotal to the ongoing story in remarkable ways. There is nothing stereotypical about either of them, and the two young actors more than rise to the challenge of matching the more experienced pros. Many a show has been ruined by miscast youths that can’t match the more sophisticated adult content, but I remain impressed by these two, both as characters and actors. Again, they have the scope to go into very fascinating places within the story when season four emerges.
The true strength of the show, however, may lie in its consistently solid output of great supporting characters. Julia Gartner, as older than her years redneck with ambitions to rise above it, Ruth, has garnered all the plaudits, quite rightly. You grow to like her in usual ways. At first mistrusting her and then ended up 100% on her side. At times, she is the only one making sense and making the right decisions. The continual ways she is forced to grow up fast and bounce back from traumatic situations is so beautifully handled, that when she does show her vulnerable side it is at once shocking and heart- rending.
A lot of characters come and go; some forever, much quicker than you anticipated… for the sake of non spoilers, I won’t go into a who’s who here, but many meet a very sticky end, and it isn’t always who you think it will be. Especially by season 3, which largely drops the dark filter on the camera lens, but cranks up the body count exponentially, you start to feel that no one is safe, and anyone can go at any minute. Except, when they do, and why they do, is so well interwoven into the plot that you forget to look for the sucker punch and are still left with your jaw hitting the floor.
There were moments on season three where I was actually talking to the screen, begging certain characters not to do what they were doing; a sure sign of complete emotional investment. A big part of that was the addition of Tom Pelphrey as Wendy’s brother, who from the start puts a genius new spin on the family dynamic, becoming intertwined in interesting and ultimately devastating ways. His character takes a while to warm up, but by mid-season he is guaranteed to be your favourite person in it. And in episode 9, he delivers a monologue and a performance that I would quite honestly say is one of the absolute best things I’ve ever seen in a TV show.
I was moderately outraged then, to see he wasn’t rewarded with at least a nomination for the 2020 Emmy Awards. An oversight rather than a snub, for sure, but when Bateman, Linney and Garner all got nominated and he didn’t it felt like a real injustice, and a lot of online vitriol reflected that. Such a shame, especially if it turns out to be the best work he ever does – and I can’t imagine anything better, but who knows where he will go from here.
By the end of season 3 I felt exhausted. Each episode is slightly over an hour long, but can feel like you just watched a self contained movie. The quality certainly feels that way. I was both elated and shocked by the way it was left on a cliff edge, and relieved that I could take a break from it now. Although, waiting potentially up to two years to see how the story ends now seems like a long wait.
And it will be the end, one way or another, as the production announced season four will be the last, however stretching from 10 to 14 episodes, divided into 2 halves of 7; a trick Breaking Bad also did in its fifth and final season. I love that idea. Knowing the finish line is coming, rather than having it stretch out for years until the ideas and the momentum have long run out. Dexter springs to mind: a show that should have ended two seasons earlier, for sure.
I can really only see two ways it can go from here: either everyone dies, and that seems quite likely right now, or they win big. There simply is no inbetween I can imagine that would be satisfying. And I’m on the fence which I will prefer… The only certainty is that I will be very excited indeed when it comes around. And shows that make you feel that way are rare. In the meantime, I’m gonna watch a lot of comedies. I need a laugh after this…
Season one first aired in July 2017. I heard good things very quickly, albeit with some hesitation. It was dark, sometimes literally, utilising a trademark washed-out effect visually, that instantly gave it a bleak feel, which was not to everyone’s taste, but I loved. General consensus had it that the writing was great; the situation and concept drew you in from minute one. In fact, I believe the first episode is one of the best pilots seen in the last decade, bar none. It made no bones about what we were to expect from the start: intelligent dialogue, a lot of tension and a hefty chunk of jaw-dropping brutality.
Jason Bateman has enjoyed a remarkable career in the last ten years, putting behind him a patchy child-star and B actor tag, to emerge as the go to guy for deadpan comedy pathos, rivalled only, perhaps by Paul Rudd. Ozark is Bateman’s show in many regards, fulfilling his ambition to produce and direct as well as act, and he is a superb central pivot to the show, as hard nosed accountant turned drug cartel puppet, Marty Byrde. He excels in all three roles on every level, and if you are a fan of his lighter work, chances are you will fall head over heels for his dubious charm in Ozark.
But, whilst he is the lynchpin of the show, and a compelling character in every subtley drawn way, there is so much more to the show than him. Laura Linney, as his initially timid wife, Wendy, is never less than interesting. Perfectly cast, utilising her skill for portraying strong yet flawed women at every turn; she grows into a character so full of contradictions and conflicts, that you change your mind whether you like her or not almost episode to episode. Time will tell, but she may yet emerge in season 4 as the most fully realised character in the show, depending on how her arc ends. The potential is huge, and despite a CV of solid roles over the years, this could be the defining work of her career. It’s already close.
Then there are the kids in this very modern nuclear family, Charlotte and Jonah, played by Sofia Hublitz and Skylar Gaetner. These characters could have been set decoration in lesser hands, but in this show they are given the chance to grow and become pivotal to the ongoing story in remarkable ways. There is nothing stereotypical about either of them, and the two young actors more than rise to the challenge of matching the more experienced pros. Many a show has been ruined by miscast youths that can’t match the more sophisticated adult content, but I remain impressed by these two, both as characters and actors. Again, they have the scope to go into very fascinating places within the story when season four emerges.
The true strength of the show, however, may lie in its consistently solid output of great supporting characters. Julia Gartner, as older than her years redneck with ambitions to rise above it, Ruth, has garnered all the plaudits, quite rightly. You grow to like her in usual ways. At first mistrusting her and then ended up 100% on her side. At times, she is the only one making sense and making the right decisions. The continual ways she is forced to grow up fast and bounce back from traumatic situations is so beautifully handled, that when she does show her vulnerable side it is at once shocking and heart- rending.
A lot of characters come and go; some forever, much quicker than you anticipated… for the sake of non spoilers, I won’t go into a who’s who here, but many meet a very sticky end, and it isn’t always who you think it will be. Especially by season 3, which largely drops the dark filter on the camera lens, but cranks up the body count exponentially, you start to feel that no one is safe, and anyone can go at any minute. Except, when they do, and why they do, is so well interwoven into the plot that you forget to look for the sucker punch and are still left with your jaw hitting the floor.
There were moments on season three where I was actually talking to the screen, begging certain characters not to do what they were doing; a sure sign of complete emotional investment. A big part of that was the addition of Tom Pelphrey as Wendy’s brother, who from the start puts a genius new spin on the family dynamic, becoming intertwined in interesting and ultimately devastating ways. His character takes a while to warm up, but by mid-season he is guaranteed to be your favourite person in it. And in episode 9, he delivers a monologue and a performance that I would quite honestly say is one of the absolute best things I’ve ever seen in a TV show.
I was moderately outraged then, to see he wasn’t rewarded with at least a nomination for the 2020 Emmy Awards. An oversight rather than a snub, for sure, but when Bateman, Linney and Garner all got nominated and he didn’t it felt like a real injustice, and a lot of online vitriol reflected that. Such a shame, especially if it turns out to be the best work he ever does – and I can’t imagine anything better, but who knows where he will go from here.
By the end of season 3 I felt exhausted. Each episode is slightly over an hour long, but can feel like you just watched a self contained movie. The quality certainly feels that way. I was both elated and shocked by the way it was left on a cliff edge, and relieved that I could take a break from it now. Although, waiting potentially up to two years to see how the story ends now seems like a long wait.
And it will be the end, one way or another, as the production announced season four will be the last, however stretching from 10 to 14 episodes, divided into 2 halves of 7; a trick Breaking Bad also did in its fifth and final season. I love that idea. Knowing the finish line is coming, rather than having it stretch out for years until the ideas and the momentum have long run out. Dexter springs to mind: a show that should have ended two seasons earlier, for sure.
I can really only see two ways it can go from here: either everyone dies, and that seems quite likely right now, or they win big. There simply is no inbetween I can imagine that would be satisfying. And I’m on the fence which I will prefer… The only certainty is that I will be very excited indeed when it comes around. And shows that make you feel that way are rare. In the meantime, I’m gonna watch a lot of comedies. I need a laugh after this…