Film Review: ‘Draft Day’

'Draft Day' Review: Kevin Costner Shines

An immensely appealing Kevin Costner anchors Ivan Reitman's savvy peek behind the curtain of pro-football wheeling and dealing.

After spending much of his career being likened to “High Noon” star Gary Cooper, Kevin Costner gets a countdown-clock movie to call his very own in “Draft Day.” Although director Ivan Reitman’s sports dramedy trades the streets of the Wild West for the equally rambunctious turf of pro football, and a duel in the center of town for one in the strategy room of the Cleveland Browns, the underlying situation is the same: A weary but fundamentally decent man must decide whether to stand his ideological ground or fall into line with the cowardly herd. It’s a role that fits the aging Costner to a tee in what’s easily the savviest sports movie since “Moneyball” — though you’d scarcely guess it from Summit’s AARP-friendly marketing campaign and decision to hide the film from critics until the 11th hour. Opening in the mighty wake of “Captain America: The Winter Soldier” and opposite family tentpole “Rio 2,” the pic should manage to pass the wan $30 million domestic gross of Costner’s recent “3 Days to Kill,” but looks to score most of its points in the home-viewing arena.

Costner and sports have always made good bedfellows, and the actor is indeed at his most Cooper-esque as Browns GM Sonny Weaver Jr. — especially the slightly anxious, weathered Cooper of the post-“High Noon” years, whose crusader’s virtue seemed dulled by life and its incessant compromises. Fittingly, Weaver is a man in a constant state of negotiating, his draft picks in some ways being the least of his worries. His girlfriend (Jennifer Garner), who also happens to be the team’s salary-cap manager, has just announced that she’s pregnant; his high-strung mother (Ellen Burstyn) can’t help making him feel inferior to his late father, a legendary Browns head coach (whom Junior fired at Mom’s request); and, after a 6-10 season, the team’s brass-tacks owner (a deliciously oily Frank Langella) seems eager for any reason to fire him.

Like “Moneyball,” “Draft Day” (which is the first produced script by the team of Rajiv Joseph and Scott Rothman) is one of those rare sports movies more concerned by what goes on in the executive suite than on the playing field, and it’s refreshingly smart about the complex decisions that go into making the hires and trades that often send fans into a tizzy, but which may be in the long-term best interests of the team. When the movie opens, the 2013 draft is a mere 13 hours away, and the agreed-upon No. 1 prospect is Bo Callahan (Josh Pence), a Heisman-winning quarterback fresh out of the U. of Wisconsin. The Browns, slated to pick seventh in the first round, don’t seem to have a shot, until the Seattle Seahawks call with a devil’s bargain: their No. 1 first-round slot in exchange for the Browns’ next three years’ worth of first-round picks.

Weaver mulls the offer, accepts, then just as soon starts to have second thoughts. On the one hand, Callahan has all the signs of a star in the making. On the other, Cleveland already has a QB (Tom Welling), newly recovered from a knee injury and playing better than ever. The hotheaded Browns coach (Denis Leary) says he hates rookie QBs — it takes them too long to learn all the plays — and, besides, what they really need is a new running back, one like Ray Jennings (Arian Foster), whose father (real-life NFL vet Terry Crews) was also a Brown back in the day. Weaver has other doubts, too — doubts of a more intuitive kind, about Callahan’s character, his sportsmanship, and his ability to be a good team player. Which is not to even mention Vontae Mack (an excellent Chadwick Boseman), the Ohio State linebacker who just might have the greatest career potential of them all.

Joseph and Rothman have done their homework, and if “Draft Day” lacks some of “Moneyball’s” particularly charged, eggheaded air, it nevertheless benefits from a strong insider’s feel. It knows that for all the scouting and statistical analysis and endless rewatching of game-day videos, any sports draft remains an inexact science, one in which a ballyhooed first-round pick might turn out to be a bust, while a sixth-round also-ran (like New England’s Tom Brady) can turn into an unexpected star. And it understands the delicate balancing of fan expectations, budgetary constraints and fragile alpha-male egos that goes on behind the scenes of even the most successful sports franchises. Most of all, “Draft Day” affords the simple but uncommon pleasure of watching intelligent characters who are passionate about what they do trying to do the best that they can.

Given a strong but talky script, much of which involves Costner wheeling and dealing by phone with agents (including one played by Sean Combs), players and rival GMs in other cities, Reitman and d.p. Eric Steelberg draw on an inventive split-screen technique that allows us to see both sides of each conversation at once, but in constantly shifting proportions and arrangements. It’s the sort of gimmick that might easily have proved distracting if overused, but which Reitman keeps nicely in check, and which has the intended effect of pulling us more deeply into rather static scenes.

The climactic draft proves more than worth the wait, and Costner is a particular pleasure to watch in it, hustling to and fro and playing all sides against an imagined middle as the clock ticks and the possible outcomes narrow. He’s surrounded by a gallery of equally appealing supporting players, including Garner, whose casting as Costner’s s.o. plays right into stereotypes about Hollywood’s age and gender biases, but who nevertheless brings a no-nonsense edge to her portrayal of a football fanatic working extra-hard to prove herself in the boys club of pro football.

Pic is packed with cameos from real-life Browns past and present (including the legendary Jim Brown), sportscasters and analysts (Chris Berman, Jon Gruden and Deion Sanders), and even NFL commissioner Roger Goodell himself.

Film Review: 'Draft Day'

Reviewed at AMC 34th Street, New York, April 9, 2014. MPAA Rating: PG-13. Running time: 109 MIN.

Production

A Lionsgate release of a Summit Entertainment presentation in association with OddLot Entertainment of a Montecito Picture Co./OddLot Entertainment production. Produced by Ivan Reitman, Ali Bell, Joe Medjuck. Executive producers, Tom Pollock, Michael Beugg, Gigi Pritzker, William Lischak, Michael Nathanson.

Crew

Directed by Ivan Reitman. Screenplay, Rajiv Joseph, Scott Rothman. Camera (Technicolor, Deluxe prints, Arri Alexa digital widescreen), Eric Steelberg; editors, Sheldon Kahn, Dana E. Glauberman; music, John Debney; music supervisor, Tracy McKnight; production designer, Stephen Altman; art director, John E. Bucklin; set decorator, Maria A. Nay; costume designer, Frank Fleming; sound (Datasat/Dolby Digital), Steven A. Morrow; supervising sound editor, Michael J. Benavente; re-recording mixers, Gary Bourgeois, Anna Behlmer; visual effects supervisor, Mat Krentz; visual effects producer, Jodie Camilleri; visual effects, Look! Effects, CoSA VFX; stunt coordinator, Richard Fike; associate producers, Jason Blumenfeld, Alex Plapinger; assistant director, Jason A. Blumenfeld; second unit camera, Cale Finot; casting, John Papsidera.

With

Kevin Costner, Jennifer Garner, Denis Leary, Frank Langella, Sam Elliott, Sean Combs, Terry Crews, Ellen Burstyn, Chadwick Boseman, Rosanna Arquette, W. Earl Brown, Kevin Dunn, Arian Foster, Brad William Henke, Chi McBride, Griffin Newman, Josh Pence, David Ramsey, Patrick St. Esprit , Timothy Simmons, Tom Welling, Wade Williams.

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  1. Emily Palmer says:

    So where were the New England Patriots on Draft Day in 2014? Weren’t they there? There is not a single mention of their name–only Tom Brandy’s in passing. Seems like there has been a long-standing bias against the best team in the country.

  2. donna says:

    DRAFT with Kevin Costner Jennifer gardner was 2nd to none one of the best movies I have seen

  3. Joanne Rae says:

    The “inventive split-screen technique that allows us to see both sides of each conversation at once” as you wrote, is nothing new. It is a long-standing convention which dates back to early silents, as in Lois Weber’s triangular frames in her 1913 Suspense, and culminating in 1959’s Oscar-winning Pillow Talk, where Doris Day and Rock Hudson share a party line.

  4. Diane Mindy says:

    I just read that the company, Lionsgate, who produced Draft Day, solicited their music/musicians from out of the country. I am wondering if Kevin Costner knew about this move. AND I hope the next movie Lionsgate produces uses our musicians….made in the USA!

  5. Mjkbk says:

    Yeah, and isn’t “getting down to brass tax” the same thing as “cutting to the chaise”? ;-D

    Someone either has a substandard spell checker……or thinks some tax on brass resulted in a colloquial phrase about basic facts. LOL.

  6. Woo hooo We made the Cowboys ring Leary wears !

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