Moneyball

Adapted from Michael Lewis’ book by Aaron Sorkin and Steven Zallain, this true story isn’t about baseball the game, but the game of baseball (if you follow). When Oakland A’s general manager Billy Beane (Brad Pitt) finds himself without the budget or star power to compete with wealthier rivals, he employs economics whiz-kid Peter Brand (Jonah Hill) to come up with a different strategy. Using an analytical, sabremetric approach, Brand espouses wins not from home runs but base percentages, and so the men form a team from the outcasts of other teams, an “island of misfit toys.”
Pitt is never less than magnetic, and the performance acts as a showcase for how comfortably he’s settled into middle-aged roles. Hill also proves incredibly endearing, eschewing his usual obnoxiously awkward schtick in favour of a subtler performance. Though confident in his abilities and passionate about his philosophy, Brand’s nervous energy betrays a young man given more responsibility that he ever dreamed of. The sharp, realistic and sarcasm-laden banter is always enjoyable, their fast-talking hustling for players an articulate, cynical delight.
Great choices are also made with the cinematography, particularly in the opening scenes, which feel like a beautifully crafted documentary. Later as the season begins, recreated footage of the A’s mid-season winning streak proves incredibly immersive, and each win inspires a chest-tightening, fist-pumping sense of achievement. However Bennett’s gorgeous close-ups ensure the story always comes back to the personal stories of Beane, Brand and the players who no-one else wanted.
Though it lags slightly in the middle, this intelligent, brilliantly scripted and wonderfully acted film ultimately isn’t about statistics, but soul – and celebrating those who think outside the batter’s box.