Category Archives: Film Review

Class Warfare (2001, directed by Richard Shepard)

Posted on by Jedadiah Leland

Kristen Marshall (Lindsey McKeon) is a rich high school girl with a problem.  She’s not rich anymore!  Her parents have lost all of their money due to a shady business deal and now, Kristen might not even be able to afford to go to Harvard!  Even the fact that she’s the senior class president and drives an expensive car might not be enough to convince those Boston brahmins to give her a scholarship.  Looking to get away from all of her problems, Kristen and her boyfriend, Jason (Wade Carpenter), decide to spend the weekend at their friend Graham’s (Dave McGowan) lakehouse.  Kristen, however, is upset to discover that Graham has also invited Richard Ashbury (Robin Dunne).

Richard is a high school activist, a self-professed Socialist who spends his time putting up flyers for a food and clothing drive.  Kristen first met Richard when she accidentally hits him with her car.  (Kristen was in a hurry and she didn’t notice Richard riding by on his bicycle.)  Though Richard was uninjured, Kristen’s car was slightly dented and Richard told her that he was sure that her family would be able to pay for it.  Now, Kristen is stuck spending the weekend with him and, to make things even worse, Richard looks at a newspaper and discovers that he has got a winning lottery ticket.  As soon as the weekend ends, he’ll turn in the ticket and get $25 million dollars!  Meanwhile, Kristen is having nightmares about her guidance counselor denying her application for a college loan while Richard lights a cigar with a hundred dollar bill!

Eager to that get that ticket for herself, Kristen first tries to seduce Richard.  When that doesn’t work, Kristen orders Jason to kill him.

Class Warfare definitely has a made-for-TV look about it but, when taken on its own terms, it’s not bad.  Lindsey McKeon is an effective villain and the other actors are all credible in their roles, even if it’s obvious that most of them haven’t been in high school for a good couple of years.  The movie’s class warfare theme was sometimes simplistic but the film still did a good job of ratcheting up the stakes as one mistake led to another.  Nowadays, people take the lottery for granted but Class Warfare does capture that moment when people really did feel like their lives could be changed in an instant.

Class Warfare was produced by the USA Network and originally aired on December 24th, 2001.  I guess that was USA’s way of saying, “Merry Christmas!”

Powerplay (1999, directed by Chris Baugh)

Posted on by Jedadiah Leland

Shannon Tweed plays Jacqueline, a sexy con artist who seduces older men and then, after she poisons them, runs away with all of their money.  After her latest target, Benjamin Alcott (Bryan Kent), ends up floating dead in his swimming pool, Jacqueline heads off to find her next target.  Ben’s estranged daughter, Candice (Danielle Ciardi), is upset to learn that Ben only left her his library of book while leaving all of his money to Jacqueline.  Along with her sleazy boyfriend, Steve (Jim Richer), Candice tracks Jacqueline down and tries to con the con artist.

Shannon Tweed is top-billed in Powerplay but she’s not in much of the movie.  Both onscreen and off, this was clearly a take the money and run job for Tweed.  Still, a little bit of Tweed is better than no Tweed at all, especially where a film like Powerplay is concerned.  Of all the actresses who regularly appeared in late night Cinemax in the 90s, Tweed was definitely the most talented and she brings some needed energy to her scenes.  Tweed’s main strength as a star was always that she could be appealing and sexy even while she was smirking about killing someone and Powerplay makes good use of that ability.

The majority of the film, though, follows Candice and Steve as they try to track Jacqueline down.  In a nice twist, Candice is just as greedy, voracious, and cold-hearted as Jacqueline and Danielle Ciardi (who bore a probably not coincidental resemblance to Neve Campbell in Wild Things) does a good job of playing her.   This was Ciardi’s film debut and, according to the imdb, her only starring role.  That is too bad because it seems like she had the talent to do much more.  Unfortunately, Jim Richer is far less effective in the role of Steve.  In fact, all of the male performances in Powerplay are lousy and are not helped by an overly convoluted script that features a few plot twists that are incoherent even by the standards of the typical direct-to-video neonoir.  Powerplay ends with multiple cons and double-crosses but none of them feel earned.  There’s a difference between something like Stephen Frears’s The Grifters, where the con is obvious once you know what to look for, and Powerplay, where the con feels like a last minute addition to the script.

But who am I kidding?  This film wasn’t made for an audience that’s going to be watching for the plot.  They’re going to be watching because Shannon Tweed takes a shower while the man she poisoned dies nearby and because Candice is written and portrayed as almost being a nymphomaniac.  (Candice has a creative way of handling things when a hotel employee knock on the door of a room that she’s not supposed to be in.)  Powerplay has enough sex and nudity that it was undoubtedly popular when it showed up on late night Cinemax in 1999.  But it doesn’t have enough of a story to be memorable for any reason beyond that.

Film Review: American Siege (dir by Edward Drake)

Posted on by Lisa Marie Bowman

For a few months, I’ve been going back and forth on whether or not I wanted to review American Siege.

On the one hand, I try to review every film that I see, regardless of how bad (or good) it might be.  I love movies.  I love talking about them.  I love writing about them.  I love sharing my opinions about them and hearing and reading the opinions of others.  That goes for all films, even really bad ones like American Siege.

On the other hand, American Siege is also one of the films that Bruce Willis made shortly before announcing his retirement from acting.  Since his retirement was announced, there have been a lot of stories that have suggested that Bruce’s condition led to him accepting a lot of roles that he normally would not have even considered and that Willis was not always fully aware of what was happening on the sets of the films in which he appeared.  Regardless of how much of that is true or not, it’s a heart-breaking story and it makes it difficult to watch Willis in a film like American Siege.

In American Siege, Willis plays a sheriff in a small Georgia town.  When a group of loud rednecks take a local pharmacist hostage, Willis and his deputies drive out to the man’s house.  However, Willis is ordered to stand down by the richest man in town, who is played by Timothy V. Murphy.  It turns out that the pharmacist has evidence that links Murphy to an unsolved crime.  The rednecks might be loud and stupid and self-destructive but it turns out that they’re not actually the worst people in town.

American Siege is 90 minutes of people shouting at each other and pointing guns out of windows.  There’s not much of a story to be found and even the unsolved mystery is a bit of a dud.  As was typical of his last few films, Bruce Willis is only on screen for a few minutes and he delivers his lines in a heart-breakingly flat monotone.  The rest of the cast is actually okay, even if they do go bit a overboard with the fake Southern accents.  The rednecks are convincingly redneck-y and Murphy is convincingly condescending as the rich man who has never had to face any consequences for his actions.  But the main reason anyone is going to watch this film is because of Bruce Willis and, sadly, there’s none of the swagger that made Willis in a superstar.

So, why am I reviewing American Siege?  Mostly it’s so I can recommend that, if you are really determined to watch one Bruce Willis’s later films, you skip American Siege and watch Gasoline Alley.  Gasoline Alley was made by the same director and it also features Bruce Willis but it’s a hundred times better than American Siege and it actually gives Willis a decent role to go out on.

Of course, my ultimate recommendation, as far as all this is concerned, is that you go and rewatch the first three Die Hards.  They’re not just for Christmas!

Film Review: Ambulance (dir by Michael Bay)

Posted on by Lisa Marie Bowman

Ambulance is the ultimate Michael Bay movie.

Obviously, whether or not that’s a good thing for you personally will depend on how you feel about Michael Bay.  As a director, Bay specializes in kinetic thrill rides, the type of films where the camera never stops moving, the characters are attractive but shallow, and every plot development is an excuse for another action sequence.  Michael Bay is hardly the first, only, or last director to put action and spectacle above characterization and a coherent storyline.  However, he might very well be the most shameless about it.  Michael Bay’s approach has not made him a favorite of the critics but it has usually proved successful with audiences.  Personally, I’ve smirked at a lot of scenes in a lot of Michael Bay films.  (I still laugh whenever I remember the slow motion shot of the children playing in front of the faded JFK campaign poster in Armageddon.)  But, in this age of self-important filmmakers, it’s hard not to appreciate a director who just wants to have a good time.

And, make no doubt about it, Ambulance is definitely a good time.  The film’s plot is simple.  Jake Gyllenhaal and Yahya Abdul-Mateen II rob a bank.  When the robbery goes wrong, they hijack an ambulance.  In the back of the ambulance is an EMT played by Eliza Gonzalez, who is desperately trying to keep a wounded cop (Jackson White) from dying.  Gyllenhaal and Abdul-Mateen also want to make sure that the cop doesn’t die because they know that, if they’re captured, the penalty for being a cop killer is considerably worse than the penalty for being a bad bank robber.  With the entire LAPD and the FBI in pursuit, the two men drive the ambulance through Los Angeles, trying to find a way to escape.  Essentially, Michael Bay said, “You know how everyone enjoys a chase scene?  What if we made the chase scene last for 136 minutes?”  And wisely, some people gave him money to do just that.

(Actually, that’s just the way that I like to imagine it.  Ambulance is actually a remake of a Danish film and Michael Bay originally passed on the project.  But, as they put it in The Man Who Shot Liberty Valance, print the legend.)

Jake Gyllenhaal may be top-billed but the star of Ambulance is definitely Michael Bay.  In many ways, there’s not much about Bay’s direction here that’s different from what he’s been doing since The Rock.  The camera moves a lot.  The images are sharp and clear.  The rapid-fire editing captures the chaos of the action scenes, occasionally at the cost of letting the audience know just who exactly is shooting at who.  But what sets apart Ambulance from other Bay films is that Michael Bay finally discovered his greatest collaborator, the drone.  Bay’s camera flies across Los Angeles, zooming over buildings and down streets and essentially making the viewer as much a part of the chase as Gyllenhaal and the cops pursuing him.  Ambulance moves with so much energy and confidence that it doesn’t matter that it’s a bit too long and that Gyllenhaal’s plan often doesn’t make much sense.  Ambulance is a thrill-ride, a film that rewards anyone who is willing to just go with it.  It’s an example of what Lucio Fulci called “pure cinema,” where the story itself is not as important as the way the director puts it all together.  I enjoyed it.  That ambulance barreling through the streets of Los Angeles was the 21st century equivalent of the speeding train that thrilled and terrified audiences during the silent era.

Unfortunately, Ambulance struggled a bit at the box office.  I’m a bit confused as to why, other than it wasn’t a part of a franchise or a sequel (like The Batman, Dr. Strange, and Top Gun: Maverick) and it didn’t have the mix of strong reviews and pop cultural cachet that led audiences to make Everything Everywhere All At Once into a hit.  Along with reviews that were more interested in criticizing Michael Bay in general as opposed to actually considering whether or not the film itslef worked, Ambulance was damaged by the fact that audiences were still getting used to the idea of leaving their homes for a night out.  I get the feeling that a lot of people looked at the commercials for Ambulance and said, “That’s something I can watch at home.”  (Admittedly, that’s what I did.)  It’s a shame that Michael Bay’s ultimate (and, I would say, best) film is also one of the few to be deemed a box office failure.  The film is currently on Peacock.  Try to watch it on the biggest screen you can find.

A Dangerous Place (1994, directed by Jerry P. Jacobs)

Posted on by Jedadiah Leland

In A Dangerous Place, a young karate student avenges his brother’s death and Corey Feldman impersonates Christian Slater.

Greg (Dean Cochran) and his younger brother, Ethan (Ted Jan Roberts), are both students of a sensei (Mako) who teaches that sparing an enemy is the best way to make a friend and that true martial artists do not compete in tournaments.  Greg wants more out of karate so he starts hanging out with The Scorpions, a gang led by Taylor (Corey Feldman).  The Scorpions all belong to a dojo owned by Gavin (Marshall R. Teague), who teaches that mercy is a weakness.  When the Scorpions aren’t beating up people at the beach, they’re “scavenging.”  They break into houses and businesses, steal what they can, and claim that homeowners insurance means that they’re actually doing everyone a favor.  When one robbery goes wrong, Greg tries to stop Taylor from killing a homeowner.  Taylor fights back and the end result is Greg falling over a railing and dying.  

The Scorpions leave Greg hanging in the high school gym.  The police think that Greg committed suicide but Ethan knows that his brother would never end his own life.  Ethan knows that the Scorpions are responsible.  He leaves his old dojo and joins Gavin’s dojo.  Ethan now has an in with the Scorpions but, if Gavin and Taylor are going to trust him enough to reveal the truth about what happened to Greg, Ethan is going to have to betray his old sensei and set up a match between the two dojos.  Ethan is going to have to abandon his own peaceful principles about become as bad as the people he is trying to take down.

For a low-budget Karate Kid rip-off, A Dangerous Place is not as bad as it sounds.  Some of the fight scenes are exciting, Mako is a decent stand-in for Pat Morita, and Marshall R. Teague does a passable Martin Kove impersonation as the leader of the bad dojo.  Corey Feldman imitating Christian Slater imitating Jack Nicholson does eventually get old but, since Feldman is playing the bad guy here and we’re not supposed to like him, it actually works to the film’s advantage.  Finally, Dick Van Patten, of all people, has a small role as the high school’s principal.  Mako, Feldman, Van Patten, and karate?  A Dangerous Place is dumb but entertaining.

Film Review: The Thing Called Love (dir by Peter Bogdanovich)

Posted on by Lisa Marie Bowman

First released in 1993 and directed by Peter Bogdanovich, The Thing Called Love takes place in Nashville, the city that, for many people, has come to define Americana.

Of course, for those who actually love movies, it’s difficult to watch any film about Nashville and the country music scene without being reminded of Robert Altman’s American epic, Nashville.  Much like Nashville, The Thing Called Love follows a group of wannabes, stars, writers, and performers.  However, whereas Robert Altman used the city and its residents as a way to paint an acidic portrait of a nation struggling to find its way in an uncertain new world, The Thing Called Love is far less ambitious.

The Thing Called Love centers around Miranda Presley (Samantha Mathis).  Miranda is from New York but she loves country music.  She comes to Nashville to try to sell her songs and become a star.  Instead, she ends up working as a waitress at the “legendary” Bluebird Cafe.  While she waits for her big break, she meets two other aspiring writer/performers, Linda Lu (Sandra Bullock) and Kyle Davidson (Dermot Mulroney).  Kyle falls in love with Miranda but Miranda falls in love with and marries James Wright (River Phoenix, brother of Joaquin).  Unfortunately, while James is talented, he’s also a bit of a jerk.

The Thing Called Love aired on TCM last year and I can still remember checking out the #TCMParty hashtag on twitter while the film was airing.  The majority of the comments were from people who loved TCM and who couldn’t understand why the channel was showing this rather forgettable movie.  The answer, of course, is that the film was directed by Peter Bogdanovich and Bogdanovich was one of the patron saints of TCM.  Along with being responsible for some genuinely good films (Targets, The Last Picture Show, Paper Moon, Saint Jack, Mask, The Cat’s Meow), Bogdanovich was also a very serious student of the history of film.  Up until he passed away in January, Bogdanovich was a familiar and welcome sight on TCM.  Listening to him talk about John Ford, Alfred Hitchcock, and especially Orson Welles was always a delight.

Unfortunately, as Bogdanovich himself often admitted, the majority of his later films failed to reach the heights of his earlier work and that’s certainly the case of The Thing Called Love.  It’s not so much that The Thing Called Love is bad as it’s just really forgettable.  There’s very little about the film that suggests that it was directed by cineaste who was responsible for The Last Picture Show.  Samantha Mathis is likable but a bit bland in the role of Miranda while River Phoenix plays James as being such a jerk that you really don’t care about whether or not he finds success.  From what I’ve read, Phoenix based his performance on watching Bob Dylan in the documentary Don’t Look Back.  Dylan is notably mercurial in that documentary but, it should be noted, that Dylan eventually abandoned that persona once he realized that it was a creative dead end.

To be honest, I think the film would have worked better if Samantha Mathis had switched roles with Sandra Bullock.  This was one of Bullock’s first films and she steals every scene in which she appears, giving an energetic and likable performance as someone who never allows herself a single moment of doubt or despair.  As opposed to the self-loathing Phoenix and the bland Mathis and Mulroney, Sandra Bullock represents the hope and optimism that Nashville is meant to symbolize.  In the end, her performance is the best thing about The Thing Called Love.

The Girls From Thunder Strip (1970, directed by David L. Hewitt)

Posted on by Jedadiah Leland

This one is pretty bad.

A group of dirty, good-for-nothing bikers roll into a Southern town.  Led by Teach (Gary Kent), the bikers are obsessed with murder and rape, the latter of which opens the film and is treated in a fashion that is meant to be comedic.  When some pointless bullying of a gas station attendant leads to the gang’s only female member getting stabbed to death, the bikers are arrested and thrown in the county jail.

Meanwhile, three sisters (Maray Ayres, Megan Timothy, and Melinda MacHarg) are making their own moonshine and selling it to the local hillbillies.  A federal agent (played by Casey Kasem, the DJ who used to countdown the Top 40 songs in America and who voiced Scooby-Doo’s stoner friend, Shaggy) comes to town and insists that the local sheriff (Jack Starrett) arrest the three sisters.  However, only one of the sisters is taken to jail while the other two escape.  The federal agent manages to accidentally blow up the still but he only ends up with a face full of soot as a result.  That Kasem can survive getting blown up without getting so much of a scratch on him would make sense if the rest of The Girls From Thunder Strip were presented as being a live-action cartoon but it’s not so the entire Kasem storyline feels like it was lifted from another, more light-hearted moonshiner movie.

With the help of the bikers, the incarcerated sister is able to break out of the county jail.  But just because they helped each other, that doesn’t mean that the sisters trust the bikers, especially after the bikers murder a deputy who happened to be a cousin to the bootleggers.  The bikers try to take over the moonshine business while the sisters (and one convenient mountain lion) take on the bikers.

The movie is all over the place.  On the one hand, you’ve got the bikers raping and killing nearly everyone they meet.  On the other hand, you’ve got Casey Kasem, playing a federal agent and pursuing the sisters with all the panache of a cartoon cat chasing a mouse.  The action scenes are lousy.  The characters have no motivation.  With one exception, the actors are terrible and no, that exception is not Casey Kasem.  Instead, the one exception is Jack Starrett, who plays the sheriff.  Starrett, with his trademark gravelly voice, was a director who had sideline playing intimidating authority figures.  In First Blood, he played Galt, the worst member of Brian Dennehy’s police force.  (He was the one who laughed when he ordered the deputies to shave Rambo with a straight razor.  Later he fell out of a helicopter and Rambo was blamed for his death.)  Starrett gives the same performance in The Girls From Thunder Strip that he later gave in First Blood and since the sheriff is not actually given a name, I’ve decided that he and Galt are the same character and Girls From Thunder Strip takes place in the Rambo Cinematic Universe.

Other than providing a look at the early life of Art Galt, there’s not much else to recommend The Girls From Thunder Strip.  Even aficionados of the biker and moonshine genres will want to look elsewhere.

Film Review: The Manor (dir by Axelle Croyon)

Posted on by Lisa Marie Bowman

In 2021’s The Manor, Barbara Hershey plays Judith Albright.  Once a professional dancer, Judith now works as a dance instructor.  Or, at least, she does until she has a sudden stroke at her 70th birthday party.  Judith survives the stroke but it’s discovered that she has Parkinson’s disease.  Judith decides that it’s time to move into a nursing home.  Her grandson, Josh (Nicholas Alexander), disagrees but the rest of Judith’s family thinks that Judith is making the right decision.

At first, the nursing home seems ideal for Judith.  The nurses seem to be friendly.  The home is actually in a stately old manor and Judith has a nice view of the nearby woods from her room.  It’s true that Judith’s roommate seems to think that there’s something sinister happening but Judith (and everyone else) chalks that up to senility.  Judith moves into the Manor and even befriends some of the other residents, including Roland (Bruce Davison).

However, it’s not long before Judith starts to suspect that something strange is happening at the Manor.  She hears strange noises.  There are mysterious deaths.  It turns out that not all of the nurses are as friendly as the originally seem.  Judith starts to have visions of a strange tree-like creature in her room.  When Judith tries to talk to the nursing home’s staff, they dismiss her concerns and condescendingly tell her that she’s just confused.  Some of them even threaten her to keep her from making too much trouble.  Are they just bad nurses or is there something even worse motivating them?  And can Judith discover the Manor’s secret before she becomes the latest victim?

The Manor was the eighth and the last entry in the Welcome to the Blumhouse horror anthology series.  Each of the films premiered on Prime, with The Manor dropping on October 8th, 2021.  For the most part, the quality of the films featured as a part of Welcome to the Blumhouse were uneven.  However, The Manor actually works fairly well.  What the film lacks in budget, it makes up for in atmosphere.  The nursing home is a truly creepy location and director Axelle Croyon does a good job of creating the feeling that there could be something lurking in every shadow.  The scenes were Judith is woken in the night are well-done and the scenes where Judith is told that she is simply confused because she’s elderly are properly infuriating.  Barbara Hershey is well-cast as Judith, giving a good performance as someone who is at peace with being in her twilight years but who still isn’t quite ready to give up on life.  She is well-matched by Bruce Davison, playing a more ambiguous resident of the nursing home.  The ending of The Manor is also a bit unexpected, with Judith making a choice that’s unexpected but which makes sense if you look back over what we’ve learned about her over the course of the film.

In the end, The Manor feels like a modern version of one of those old episodes of The Twilight Zone or The Outer Limits.  Yes, the film does teach an important lesson about aging and respecting our elders but, even more importantly, it adds a slightly unexpected twist to give the story a properly macabre conclusion.  The Manor is an effective little horror tale and one that gives Barbara Hershey a chance to shine.

Max Knight: Ultra Spy (2000, directed by Colin Budds)

Posted on by Jedadiah Leland

Max Knight (Michael Landes) used to be the world’s greatest hacker but now he’s a spy who is more machine than man.  He can turn invisible at will but he also has a computerized heart that has to regularly be recharged to keep him alive and functioning.  I know it sound like he’s Iron Man but he’s not.  He’s Max Knight: Ultra  Spy.  He works out of a futuristic office and he has a virtual assistant who might be in love with him.

When teenage genius Lindsay (Brooke Harman) is kidnapped by a Mark McGrath look-alike named Zach (Christopher Morris), Max is hired by Lindsay’s sister, Ricki (Rachel Blakely).  Zach, who really does look like the lead singer of Sugar Ray, has a cult of followers who are all obsessed with living the rest of their lives online.  (If they had just waited a few years, they could have all gotten twitter accounts and the problem would have been solved.)  Zach knows that Lindsay has come up with the formula that will allow them all to become a part of the Internet and to destroy the rest of the world.  (Because everywhere Zach goes, all around the world, statues crumble for him.)  Eventually, Max and Zach enter the internet and battle it out, via some CGI that makes the entire movie look like an advanced level of Castle Wolfenstein.

Max Knight: Ultra Spy was originally a pilot for a television series and it very much wears its influences for all to see.  Max borrows his look and his general attitude from The Matrix while the special effects owe much to The Lawnmower Man and Doom.  The film’s obsession with the power of the net is, appropriately, taken from The Net.  The first scene is even a recreation of the scene in Entrapment where Catherine Zeta-Jones shows off her agility by avoiding the laser beams that would set off an alarm if she made one wrong move.  Entrapment is one of those films that has been forgotten today but back in 2000, everyone was obsessed with Catherine Zeta-Jones playing an FBI agent who pretends to be a thief to take down Sean Connery.  Sadly, it’s not as much fun to watch Max Knight avoid detection than it was to watch Catherine Zeta-Jones.

There’s a lot of technobabble but it doesn’t add up too much.  Don’t even try to figure out what exactly it is that Lindsay has discovered that will allow Zach to pull off his scheme.  Even without Lindsay being the key, Zach’s plan never makes any sense to begin with.  Michael Landes is a decent hero and Christopher Morris is an annoying villain.  Rachel Blakely and Brooke Harman were cute so the film has that going for it.  Max Knight is mostly interesting as a throw-back to the time when people were still fascinated with the possibilities of the Internet instead of just taking it for granted as one of life’s annoying necessities.  In 2000, Zach was portrayed as being a dangerous madman for wanting to live the rest of his life online.  Today, he would just be a normal Starbucks shift manager.

I Watched Pitching Love And Catching Faith (2015, dir. by Randy, Randolph, and Rebecca Sternberg)

Posted on by Dazzling Erin

I watched Pitching Love and Catching Faith on Tubi because I will always take a chance on a baseball movie.

Heather (Lala Kent) and Tyler (Derek Boone) are both students at the same college.  Heather is a softball pitcher.  Tyler plays baseball and has a chance to play in the majors.  They meet and date but it turns out that they have different approaches to life.  Tyler thinks that a purity ring is romantic gift and he’s never even kissed a girl because he made a pledge to wait until he met “the one.”  Heather has kissed a lot of people because Heather is a normal human being.

One big problem with this movie is that Tyler’s not just weird but also awfully judgmental of anyone who doesn’t agree with him.  There are a lot of people who, for various and understandable reasons, hold off on having sex until they’re married or at least in a committed relationship but Tyler takes it one step further by declaring that he won’t even kiss anyone until he’s sure that he’s in love.  And it’s not just that Tyler won’t kiss anyone.  It’s also that he’ll judge anyone else who kisses someone without marrying them first.  It’s not just kissing, though.  Tyler even judges Heather for flirting with him and then he gives her a purity ring without even finding out if that’s something that she believes in.  I never miss Sunday Mass and even I thought Tyler was being overbearing.  Tyler’s not that much of a catch but every woman in the movie is swooning over him.  I wanted someone to tell Heather that she could do better.

The other big problem is that there wasn’t enough baseball.  There wasn’t even enough softball.  Heather got to pitch once.  Tyler swung the bat once.  But if your movie has the words “pitching” and “catching” in the title, it better have more baseball than this movie!

Final verdict on this movie: Go Rangers!  The whole time I was watching the movie, I was thinking about how much I’d rather see the Rangers have a winning season for once.