Gus is a baseball scout. The team he works for thinks he should retire. He asks them to let him do one more scouting job to prove himself. His friend, Pete, asks Gus's estranged daughter, Mickey, if she could go with him to make sure he's OK as his eyes are failing. The doctor tells Gus he should get his eyes treated but he insists on doing his scouting assignment, which takes him to North Carolina. Mickey decides to put her work on hold to go with him and she wants him to explain why he pushed her away. Whilst there he runs into Johnny, a scout from another team who was a promising player Gus once scouted. Johnny and Mickey take an interest in each other. Written by
During the dinner scene between Mickey and Greg, she overhears a conversation about Jair Jurrjens pitching a no-hitter. Jurrjens, a native of Curacao, pitched for the Braves from 2008-2012 and originally reached the majors with the Detroit Tigers. See more »
When Mickey enters Gus's house and finds it full of cooking smoke, she drops her coat and purse on the floor and strides into the kitchen to open the windows. In various shots the positions of Mickey's coat and purse change. See more »
[at the toilet]
Okay, come on now. Come on, boy. Let's not take your sweet-ass time about this. Jesus. Okay, that's it... Ah, good. Don't laugh, I outlived you, you little bastard.
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Trouble With the Curve is entertaining, but not very memorable
Clint Eastwood has received more acclamation as a director than as an actor, but in the case of Trouble With the Curve, he decided to yield the control of the movie to other filmmaker, while he only acted on it. And director Robert Lorenz closely follows Eastwood's sober and direct style, while the screenplay deals with the habitual subjects in his movies about dignity in the mature age, fortress of spirit and second chances. The result is entertaining and pleasant, but predictable and a bit bland.
On some way, Trouble With the Curve takes the opposite attitude to Moneyball (human instinct surpasses technology), but screenwriter Randy Brown isn't really interested in the secret operations of baseball, but in showing the characters' emotional evolution. There's nothing original in that development; the main points of the screenplay are the reparation of family conflicts, redemption of anachronistic ideologies and the dignity of mature age in a world which is so worried about the future that it never looks back. And despite the clichés, sentimental manipulation and excessively easy and convenient solutions, Trouble With the Curve managed to keep me entertained mainly thanks to the excellent performances from Eastwood, Amy Adams and John Goodman. Eastwood limits himself to repeat the "irritable old man" character he played in Gran Torino...and I don't have any complaints against that, because it takes the maximum advantage of his talent as an actor. Adams brings deepness and credibility to her shallowly written character, while Goodman steals every scene he's in.
Justin Timberlake brings a decent performance in Trouble With the Curve, but I couldn't swallow his character's function as a potential couple of Adams' character. His character of a gallant looks like a commercial trick, and not an integral part of the screenplay. Nevertheless, I think I can give a moderate recommendation to Trouble With the Curve as an inoffensive and pleasant experience, despite not being very memorable.
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