Ron Shelton
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Like Cobb (the ex-ballplayer Ron Shelton's devastating movie portrait of the monstrous baseball star Ty Cobb), Moneyball has few scenes out on the field, none of them sustained.
Not since Cobb, the 1994 Ty Cobb drama that could have been called Sourball, has baseball had such adulthood on screen.
“Bull Durham” might still be No. 1 in baseball movies, but “Moneyball” gives “Bull Durham” a run for its money!
As " Bull Durham " and "The Bad News Bears " and many other films have already demonstrated, baseball movies are just fine being about just baseball.
From Pride of the Yankees (1942) to Bang the Drum Slowly (1973) to Bull Durham (1988) to Sugar (2008), dramas about baseball have always been steeped in romance, whether they follow a winner on his way up or a loser on his way out.
Thanks to sterling work by the odd-couple team of Brad Pitt and Jonah Hill, and a razor-sharp script by Oscar winners Aaron Sorkin (“The Social Network”) and Steve Zaillian (“Schindler’s List”) — as well as understated direction by Bennett Miller — this is probably the finest baseball movie since “Bull Durham” back in 1988.
Think "Bull Durham" with the vet helping out the cocky rookie while romancing the only woman on set…and you'll get the picture.
Still, the youths floating around the 33-year-old Kevin Costner in Bull Durham treated him with greater disdain than do those sniggering towards the (at time of shooting) 59-year-old star here.
This would be fine if Challengers were as attuned to the rituals of male rivalry as, say, Ron Shelton's White Men Can't Jump—still one of the great American movies about competition, and one that uses sports as a kind of divining rod to tune into larger cultural frequencies.
But judging from Seyfried's performance in "Dear John," she has a ways to go before achieving the status of the "Bull Durham" star (who has been relegated to not just mom but grandma roles, as in "The Lovely Bones").
The most recent joint effort between actor Wuhl and "Open Season" executive producer Ron Shelton was the latter's "Cobb," an even more serious misfire due in part to Wuhl's poor thesping abilities.
If so, I�d say you must not have seen Beat the Devil (1953) or The Pride and the Passion (1958) or Blaze (1989).
Anchorman: The Legend of Ron Burgundy (2004)
Directed by Adam McKay
influenced by Bull Durham (1988), Tin Cup (1996)
Themes Plot
If the makers wanted it to be "thoughtful" then it shouldn't be a competitive romance but more like Ron Shelton's Kevin Costner sports movies, Bull Durham and Tin Cup, in which the hero competes mainly against himself.
If the makers wanted it to be "thoughtful" then it shouldn't be a competitive romance but more like Ron Shelton's Kevin Costner sports movies, Bull Durham and Tin Cup, in which the hero competes mainly against himself.
Snipes—who looks like a day hasn’t passed since White Men Can’t Jump, and it’s just not fair—hasn’t had an opportunity to shine like this in decades, and this film marks his grand return to form as well.
It’s a little like a grimy, street-level Ron Shelton movie, except in place of the would-be, has-been, or never-were athletic stars of Bull Durham, White Men Can’t Jump, and Tin Cup, Montiel’s characters exist far out on society’s fringes.
Harry Potter and the Prisoner of Azkaban (2004)
Directed by Alfonso Cuarón
influenced by Bull Durham (1988)
Characters
Emma Thompson provides some comic relief as a quack fortune telling professor who would be at home in most liberal arts college poetry departments, possibly discussing magic with Susan Sarandon from Bull Durham.
A Navy man himself, writer-director David Ayer smartly moves away from the feverish cop and urban crime dramas he's written and sometimes directed (Training Day, S.W.A.T., Dark Blue, Harsh Times, Street Kings, End of Watch) to channel his dramatic ferocity into a story of the Allies' final ground assault on the Third Reich.
Writer-director Ayer specializes in tough, unsentimental movies about societies of violent men trying to live by unwritten codes of ethics, a theme that reappears in his scripts for U-571, Training Day, The Fast And The Furious, Dark Blue, Harsh Times, and End Of Watch.
Since then he has written “The Fast and the Furious,” “S.W.A.T.,” “Dark Blue” and after making his directorial debut with his screenplay “Harsh Times” directed a second film in 2012, “End of Watch,” a realistic and memorable account of policing in L.A.’s dicier areas.
Easily the most ambitious film in Ayer’s canon of cannon fodder, “Fury” aims higher and shoots deeper than the filmmaker’s previous men-with-guns epics “Training Day,” “Dark Blue,” “End of Watch” and the recent DEA bust, “Sabotage.”
Tough as it is, this doesn’t pack quite as much punch as “End of Watch,” a story about two police officers that arguably ties with “Dark Blue” as Ayer’s best film.
It's a bravura action sequence of quick shots and lingering violence, the kind that Ayer has always been good at, even when his films — like the James Ellroy misfire "Dark Blue" — lost the thread of their drama.
Their sparring lacks the hostile, charged intimacy that Eddie Murphy and Nick Nolte had in 48 HRS.
And if you don’t see the movie, go ahead and YouTube the white (as in “White Men Can’t Jump”) 5-foot, 8-inch, slam-dunking, supernormal-power-level deceptive dribbling Boucher, who often goes into maximum security prisons with a camera crew and confounds the hardcore, 24/7 basketball-playing lifer inmates (who adore him) with his wizardry.
Leaving less than little to imagination -- in Bull Durham skivvies, Annie and Crash are infinitely more erotic -- and inducing no curiosity about the characters such as Bertolucci pulled off about Paul and his dead wife, Winterbottom serves up Swinburnes sexless orgies, passion without a trace of passion.
If short guys couldn’t play taller guys, we’d get White Men Can’t Jump starring Brendan Fraser and Dikembe Mutumbo.
In the meantime, Hellboy smokes cigars, keeps his horn stubs ground down and imagines long, slow, deep, "Bull Durham" kisses with Liz while dispatching the occasional monster.
You may remember Perez from “ Do the Right Thing ,” where she played the Spike Lee character's girlfriend, but here she unleashes an entirely new side to her character, as a brassy Brooklynite who spends her days laying down the law to Harrelson and studying the almanac.
There have certainly been fascinating, complex films that have scrutinized masculinity over the last decade and a half Bull Durham, Fight Club, Ma Vie En Rose but Frequency cannot claim to be among them.
Just like a dozen other bad buddy cop movies – including “Hollywood Homicide,” “Cop Out” and pretty much anything starring Martin Lawrence – it’s a mess.
After directing Dark Blue, writing-directing Hollywood Homicide and co-writing this disaster, Shelton is in a freeway catastrophe of his own.
Ron Shelton, who shares screenplay credit with Jerry Stahl, has made two of the best sports movies ever (Bull Durham, Tin Cup) plus a couple of decent ones (White Guys Can't Jump and Cobb).