Moneyball (2011)

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Nobody reinvents this game. Michael Lewis’ non-fiction book about the Oakland A’s during their 2002 season was initially adapted by Stan Chervin for Sony who dropped the project after going through a couple of directors. It was brought to the screen with Bennett Miller helming, and draft screenplays by Steven Zaillian then Aaron Sorkin. Brad Pitt is Billy Beane, the team’s general manager who decides to adopt a radical approach:  sabermetrics, as promulgated by super-smart Ivy League grad Peter Brand (Jonah Hill), a composite character based on the real-life assistants. Billy trades and sacks players with impunity, ending and starting careers, buying in flawed sportsmen at low prices, confounding conventional wisdom. Against all the usual odds, the team is winning but Billy is literally Billy No Mates with his policy, killing off the scouting process as he pursues victory. He tries to maintain a good relationship with his daughter, who spends most of the time with his ex-wife (Robin Wright Penn), and finds comfort in listening to the pre-teen who composes songs on the guitar he buys her.What a clever, well written drama this is:  the idea is, play the same game but with a different strategy; make a winning team out of a losing team;  make statistics real by visualising them. It uses Billy’s own backstory – with visual, narrative and musical cues – to illustrate his rationale and keep the narrative moving forward. The ongoing narration by TV baseball commentators serves both to distance us from Billy (Pitt plays an essentially unknowable, unpredictable character); and as Greek chorus, to pace the story, justify Billy’s choices (or not) and to let us know how he is succeeding with this innovative player approach. It’s a very shrewd narrative choice. And in the midst of it are Billy and Pete, a rhyming couple, teaching each other lessons. Pitt and Hill are absolutely superb in an absorbing, brilliantly constructed drama.

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The Day the Earth Stood Still (1951)

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Aka Farewell to the Master and Journey to the World. Must I take drastic action in order to get a hearing? When humanoid alien Klaatu (Michael Rennie) arrives on a flying saucer in Washington DC the military takes action and the world takes notice. He’s accompanied by an eight-foot robot called Gort. When Klaatu speaks about world peace a nervous soldier opens fire and he disappears from Walter Reed Hospital where he cures himself. Meanwhile Gort is in front of the spaceship, unmoving. Klaatu hides in plain sight in a boarding house (wearing a suit from a dry cleaner’s bearing the tag ‘Mr Carpenter’) where he is befriended by Bobby (the great child actor Billy Gray) whose widowed mother Helen (Patricia Neal) is a secretary engaged to Tom Stephens (Hugh Marlowe). Bobby goes to Arlington National Cemetery with Klaatu and the alien expresses a desire to meet someone of the calibre of Lincoln. Bobby suggests Professor Barnhardt (Sam Jaffe) but when Klaatu visits he’s out so he writes a solution to a mathematical problem left unfinished on the blackboard with instructions on how to be reached. Klaatu returns with government escort and the men discuss the dangerous nature of atomic power:  Klaatu warns that Earth will be eliminated. Bobby follows him and sees him enter the spaceship. He reports the incident to Helen and Tom and Klaatu visits Helen at work and they enter an elevator that stops – he stops all electricity worldwide for a half hour, demonstrating the incapacity of governments to deal with true power… it all comes to a head when he returns with Helen to Professor Barnhardt and the trigger-happy military shoot him dead after being forewarned by Tom. Until … Klaatu stages a resurrection. This Christ analogy was smothered in censor-friendly form, its pacifist message a radical intervention into Cold War paranoia with superb production design (Frank Lloyd Wright contributed to the UFO!) and a suitably strange soundtrack by Bernard Herrmann. Tightly written by Edmund H. North from a story by Harry Bates and superbly directed documentary-style by Robert Wise, this has many great scenes with some of the best in the boarding house between Rennie and Gray. There’s a reason this is a classic and it’s very resonant today. Remember – Klaatu barada nikito!

The Love Lottery (1954)

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Long before George Clooney thought of it, matinee idol Rex Allerton (David Niven) decamps to Lake Como to escape the hordes of girlie fans who besiege him everywhere he goes, even in his dreams:  this commences with one such nightmare when he’s torn to pieces at a premiere by the adoring mob who all look like Peggy Cummins. He falls for mathematician Anne Vernon who’s doing the calculations for gangster Herbert Lom that blackmail him into being the prize in a worldwide raffle. This mild satire from Ealing has some ambition but the writing doesn’t really hold up – the story by Charles Neilson-Terry and Zelma Bramley Moore was written by Harry Kurnitz and producer Monja Danischewsky. There are some good scenes and Niven does a lot with thin material with Vernon making hay as the clever woman who eventually falls for his charms. The attempt to marry his lady love in church is good but the payoff gag with Cummins isn’t really done as well as it could have been. There are a lot of short dream sequences which detract from the narrative momentum but on the plus side it’s beautifully shot by Douglas Slocombe and edited by Seth Holt, directed by Charles Crichton. And Humphrey Bogart does everyone a favour by showing up in a cameo.

Hidden Figures (2016)

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Three black women in a car get stopped by a cop. Turns out they’re not joyriders. It’s early 1960s Virginia and they’re mathematicians at NASA where Kevin Costner is watching the Russians send a monkey and a mannequin into space via satellite while they’re still trying to work out orbital range and stopping potential astronauts from burning up on re-entry. Everyone’s under pressure so it’s time to call in the coloured women in that other building with their own special lavatory facility. Adapted from Margot Lee Shetterly’s book by Allison Schroeder and director Theodore Melfi this tells the hitherto little-known true story of the gifted women who got those rockets into space. Kathryn Johnson (Taraji P. Henson, Cookie in TV’s Empire), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (pop singer Janelle Monae) are the three friends who are the numbers wizards and Jim Parsons is the head math guy in Costner’s wing who resents Johnson’s preternatural abilities which she still keeps up despite having to run a few miles every day to the coloured bathroom. Out of the loop and fed heavily redacted material, she still bests every man in sight. And they’re all white. John Glenn (Glen Powell) visits the site and makes sure to shake the hands of the human computers to the evident annoyance of supervisor Kirsten Dunst and it takes a village led by him and Costner to start slowly moving mountains – not from an altruistic position but because it makes sense to get good people to work faster since it’s a space race (in those days you didn’t get medals for just taking part.) Plus he doesn’t want to be burned alive and he trusts human judgement more than machines (the new IBM is kind of a running joke but with a different outcome than in Mad Men.)  Johnson is romanced by Moonlight‘s Mahershala Ali and everything works out in the end: Glenn re-enters the earth’s atmosphere and they all get with the space programme. Some of the ‘facts’ are not even true but hyped up for effect (Johnson used a white bathroom). This is bland biographical soapy drama so keen not to offend that it loses its narrative affect early on. Just as the ladies keep their heads down and step back from the racial segregation demos (who has the time when they’re putting men in rockets) this sticks to calculating the optimum conditions for a launch into orbit and a safe return. And look what that focus has achieved at the box office – gold. Which is the only colour that matters in Hollywood. Stunningly shot by Mandy Walker, the vintage newsreel inserts are wonderful.

The Man Who Knew Infinity (2015)

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Tamil Srinivasa Ramanujan is toiling away as a clerk in Madras, a maths prodigy who is entirely self-taught and with little future in his home country. His work leads Professor GH Hardy to bring him to Cambridge and a difficult career ensues throughout WW1. Adapted by writer/director Matthew Brown from the book by Robert Kanigel, this biographical drama is puzzling and touching in equal parts:  the beauty of mathematics is difficult to convey to a dimwit like myself but the relationships and overt racism on campus bring out the best in Dev Patel’s acting skills. The essence of his character is religious faith – he eventually confesses to the gruff and irascible atheist Hardy (Jeremy Irons) that he believes his God is speaking to him in his sleep. Hardy’s inspiration is less theological and his insistence on proofs leads Ramanujan to a period of self-doubt, depression and serious illness. Hardy becomes his friend very late in the day, following racist attacks, vicious rivalries within the University and a declining marriage: back home in India, Ramanujan’s mother has been hiding the letters his illiterate wife was writing to him and his wife doesn’t know and ultimately writes to inform him she is leaving him. This is a beautifully handled drama about a little known man whose work during the last year of his life has been used to understand black holes. What was that about infinity and beyond?! Ah, sweet mystery of life. Gimme dat ol time religion.