Moneyball is the traditional American sports movie with all the excitement sucked out of the accomplishment. The excitement isn’t gone because of the story–about how the Oakland A’s applied a statistical theory to how to win baseball games, but more because director Miller wants to make sure everyone is paying attention to the symbolism in his filmmaking.
Miller’s style is generic, competent important mainstream filmmaking. He has a minimalist Mychael Danna, he has a big movie star (Brad Pitt) playing a guy who didn’t make it, he has a cast-against-type sidekick for Pitt (Jonah Hill), he’s even got Robin Wright as Pitt’s ex-wife. I didn’t realize she was in the cast, but when her single scene came on, I knew it was her before she got a close-up. Why? Because Moneyball is that type of movie.
And the first hour, maybe hour and a half, moves beautifully. Steven Zaillian and Aaron Sorkin’s screenplay makes everything–all the baseball business, all the statistics–nicely digestible. It’s a very smooth film for that first ninety minutes, with some great editing from Christopher Tellefsen.
But then Miller realizes he’s making an American sports movie and so he has to do his variation on the big game moment. But because Moneyball isn’t “just” a sports movie, everything goes on and on and on after that moment. It meanders when it needs to come together and the ending is way too obvious.
Still, it’s perfectly acceptable mainstream “thinking” movie stuff.
Directed by Bennett Miller; written by Steven Zaillian and Aaron Sorkin, based on a story by Stan Chervin and the book by Michael Lewis; director of photography, Wally Pfister; edited by Christopher Tellefsen; music by Mychael Danna; production designer, Jess Gonchor; produced by Michael De Luca, Rachael Horovitz and Brad Pitt; released by Columbia Pictures.
Starring Brad Pitt (Billy Beane), Jonah Hill (Peter Brand), Philip Seymour Hoffman (Art Howe), Robin Wright (Sharon), Chris Pratt (Scott Hatteberg) and Stephen Bishop (David Justice).