Moneyball

Fielding percentages, conference calls and signing bonuses have never been this entertaining. In adapting Michael Lewis' highly praised book about the economics of baseball, screenwriters Aaron Sorkin and Steve Zallian have turned statistics and little-known ballplayers into a funny and illuminating sports flick that'll appeal to baseball fans and nonfans alike.

Oakland A's general manager Billy Beane (Brad Pitt) — a former ballplayer who, despite great promise, tragically underperformed as a pro — struggles to field a competitive team despite having a budget far below his opponents (the Yankees regularly outspend him four to one). Even after putting together a string of almost-ran seasons, Beane consistently sees his best players defect to cities that can pay out multimillion-dollar contracts. As a result, he is forced to rethink his approach to the game and, defying conventional and traditional wisdom, puts together a roster built on obscure statistics and war-of-attrition strategies. Teamed with a Yale-educated economics graduate named Peter Brand (Jonah Hill), he assembles a team of players undervalued by the old system, a team that in 2002 ... well, I won't spoil the surprise for those who don't already follow baseball. Needless to say, this unlikely duo encounters numerous challenges to making their new system work, not the least of which is team manager Art Howe (Philip Seymour Hoffman), who refuses to ... er ... play ball.

Don't let the sports wonkery scare you off. Moneyball is filled with smart, energetic and suspenseful filmmaking, taking you into the backrooms and offices of professional sports where the real deals are made. Zipping along at a fluid pace, it plays like Jerry Maguire if that movie had been plotted like a heist flick rather than a romance. You see, the real test of Beane and Brand's strategy is not which games they'll win but whether their system works over the long haul. This provides director Bennett Miller (lensing his first movie since 2005's Capote) with plenty of opportunities for stirring on-field action while indulging in Sorkin's forte — witty, professional banter and clever character chemistry. Miller's approach is subtle and carefully calibrated, never overplaying the emotions but always driving its underdog storyline — which lacks a traditional character arc — forward. Similarly, Wally Pfister's cinematography adds a casually naturalistic feel.

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