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Gus Lobel has been one of the best scouts in baseball for decades, but his age is starting to catch up with him. Nevertheless, Gus who can tell a pitch just by the crack of the bat refuses to be benched for what may be the final innings of his career. He may not have a choice. An expert but aging baseball scout is joined by his daughter on his latest trip. Forced to spend time together for the first time in years, each reveals long-held truths about their past.
Lorenz ... lays in everything methodically, fully, but without much invention or energy; you can imagine each plot development ten minutes before it arrives.
October 08, 2012
TV Guide
Long stretches of Trouble With the Curve make you wish you had other ways to occupy yourself.
While 'Moneyball' made a strong case for sabermetrics being the future of baseball, 'Trouble' makes just as strong a case for tried-and-true scouting as being the foundation.
Eastwood and Adams do the best they can with the cornball sentimentality and cheesy dialogue, but first-time director Robert Lorenz merely photographs the on- and off-field action. Give it a pass.
Doesn't just remind you what a great screen presence Clint Eastwood is; it makes you appreciate him even more as a director because Lorenz does such a terrible job.
May 03, 2015
ReelViews
This isn't the worst performance Eastwood has given in his 57-year career, but it's his least inspired in about a decade.
"Trouble With The Curve" is a picture of small pleasures, and a lunkheaded finale isn't enough to ruin all of the good will it earns through its first two acts.
Eastwood, in his 80s, looks a lot trimmer than some of the performers in this film half his age. He may be the only octogenarian actor who has to play older than his age to be convincing.
Nobody would pay much attention to this plodding but good-hearted film if not for its star, Clint Eastwood, although he's just dialing in the go-to Cantankerous Old Man mode on which he has relied for a decade or so.
The good news is that Eastwood does his thing to perfection, Adams provides the spunky cuteness, and Timberlake couldn't scrub his eager charm off with a Brillo pad if he tried.
Like a big, looping knuckleball, Clint Eastwood's new movie wanders amiably, threatens to go wild, but in the end settles smack in the middle of the plate.
For all its occasional tin ear, Dr Phil dialogue, its contrivances and shortcuts, this remains a fundamentally sound and solid entertainment with a deep-rooted conviction that how we treat each other matters.