While some of the core fundamentals are strong, and even though Affleck dominates the dramatic paint as if he were Bill Walton grabbing another rebound, The Way Back emotionally double-dribbles far too often before ultimately clanking the last shot off the front of the iron just as time expires.

Chasing Mavericks comes amazingly close to being a very good film.

I’m having a hard time trying to write a review of longtime Clint Eastwood producing partner Robert Lorenz’s directorial debut Trouble with the Curve.

The Cup feels suffocated, almost as if the director is refusing to allow any emotion, anything that could be construed as an authentic human characteristic to come about naturally.