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Moneyball (2011)

PG-13  |   |  Biography, Drama, Sport  |  23 September 2011 (USA)
7.6
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Ratings: 7.6/10 from 264,646 users   Metascore: 87/100
Reviews: 307 user | 412 critic | 42 from Metacritic.com

Oakland A's general manager Billy Beane's successful attempt to assemble a baseball team on a lean budget by employing computer-generated analysis to acquire new players.

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(screenplay), (screenplay), 2 more credits »
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Title: Moneyball (2011)

Moneyball (2011) on IMDb 7.6/10

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Nominated for 6 Oscars. Another 33 wins & 64 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Sharon
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Elizabeth Hatteberg
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John Poloni
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Matt Keough
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Ron Hopkins
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Storyline

Oakland A's GM Billy Beane is handicapped with the lowest salary constraint in baseball. If he ever wants to win the World Series, Billy must find a competitive advantage. Billy is about to turn baseball on its ear when he uses statistical data to analyze and place value on the players he picks for the team. Written by Douglas Young (the-movie-guy)

Plot Summary | Plot Synopsis

Taglines:

What are you really worth?

Genres:

Biography | Drama | Sport

Motion Picture Rating (MPAA)

Rated PG-13 for some strong language | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

23 September 2011 (USA)  »

Also Known As:

El juego de la fortuna  »

Box Office

Budget:

$50,000,000 (estimated)

Opening Weekend:

$19,501,302 (USA) (23 September 2011)

Gross:

$75,605,492 (USA) (27 January 2012)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Bennett Miller told a screening audience that A's assistant GM Paul DePodesta did not wish to have his real name used in the movie, but was very generously helpful during its making. While the filmmakers had no obligation to change his character's name (to Peter Brand), they did so willingly. See more »

Goofs

In scene where Pitt and Hill's characters are trading players, Pitt has a coffee mug on his desk that usually is oriented to show the word "DAD". But in some cuts, the mug is oriented differently so the word is not visible to the camera. See more »

Quotes

Scott Hatteberg: What about the fans?
Ron Washington: Yeah, maybe I can teach one of them.
See more »

Connections

Referenced in Billy Beane: Re-Inventing the Game (2012) See more »

Soundtracks

Bounce To Dis
Written by D.J. Laz (as Mendez Lazaro) and Miranda Fernando
Performed by D.J. Laz
Courtesy of Pandisc Music Corp.
By arrangement with Shelly Bay Music
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

A Baseball Movie That's Not About The Baseball
26 September 2011 | by (utah) – See all my reviews

Surprisingly, this movie is less about the baseball game than the game of baseball. What is striking about this movie (and it's not about outs) is the raw audio sound technique used in this movie that is usually found in documentaries than feature films which helps make this movie come alive. There is a the ambiance of background sound and the echo that seems to resonate and bring the movie closer to the audience and present a much closer to realism experience. There isn't that much actual continuous footage of baseball in this movie, but rather the management of it. The heightened personal and emotional tension is carried throughout the movie and Director Bennett Miller has put together this compelling very intimate portrait of a man played by Brad Pitt and his statistician in an unusual angle of the game of baseball.

Somehow the almost overly brief snippets of scenes and background of current events and story are blended together along with poignant flashbacks will edited into some meaningful, main storyline without ever creating the idea of that the additional footage has someone been shortchanged. Bennett Miller apparently in his wisdom was able to capture the primary message of the movie, developed an accompanying background, and maintained the singular story around the entire movie, the art of carefully scriptwriting and editing.

Even without the formulaic all-American ending, Bennett Miller was able to wrap this movie into a complete feeling of wholeness for a feature film. Miller made excellent use of silence and editing choices in keeping the camera going just long enough for the more in-depth, substantive emotional impact of a scene to sink in. Miller seems to have brought a new found vision of a approach that brings a more connectiveness and meaningfulness to film-making, especially to interesting stories of reality that aren't even about the biggest and most momentous achievements of humanity and bringing them captivatingly to the big screen.


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