The 19 Best Baseball Movies of All Time

Surprise Oscar favored Moneyball, which found gripping drama from the nuts and bolts of baseball stats ( introducing many to the bible “ sabermetrics ” ) hit theaters ten years ago nowadays. In celebration of its anniversary, we ’ rhenium here to get you in the baseball heart with that other home pastime, The Baseball Movie .
The first half of the twentieth century was full of gesture pictures with titles like The Pinch Hitter ( 1917 ), Life’s Greatest Game ( 1924 ) and The Bush Leaguer ( 1924 ). But it wasn ’ thymine until 1942 that Pride of the Yankees proved you could make a baseball movie and make a great film. Since Right Off the Bat in 1915, there have been some 200 baseball films produced. We contend, however, that the aureate age of baseball movies was a nine-year stretch from 1984 to 1993, when fully half our picks were released .
so pop some popcorn—or better so far, buy yourself some peanuts and cracker jacks—and settle in with one of the 19 best baseball movies of all clock time. — Josh Jackson
Director: Lloyd Bacon

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Before the awesomely unfair advantage writing style of baseball films was made popular by the likes of Rookie of the Year and Angels in the Outfield ( both the 1951 original and the 1994 remake ), there was this small comedy starring Ray Milland as a struggling professor who discovers a formula that repels wood. He needs a way to earn money so he can marry his sweetheart. then, what does he do next ? What any normal person would : Become a major league pitcher. Rub some of that crazy repellent on the ball, and the only person laying a bat on your game is the bookmaker in the alley you forgot to pay off. — Joe Shearer
Director: Daniel Stern
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There are a gorge of sappy, kid-friendly underdog stories about baseball, but Rookie of the Year rises merely above its peers. As with It Happens Every Spring, there ’ s a nice fantasy element involving the lovable loser who catches a break. In this encase, it ’ s a child who breaks his arm. When the cast comes off, his tendons have tightened so that he can throw more than 100 miles per hour. He becomes a pitcher for the Chicago Cubs, and while fame and fortune are capital, there comes the time when the champion has to ask himself what ’ s more significant, the good life or his friends ? — Joe Shearer
Director: Bobby Farrelly, Peter Farrelly
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Although his film career has more than its fairly share of bad movies ( Taxi, anyone ? ), Jimmy Fallon put together an curiously adorable performance in this underestimate, underseen Farrelly Brothers flick. The premise makes you think it will just be about Fallon ’ s character teach that “ sleep together is more significant ” than his traditionalist Boston Red Sox compulsion, but it ends up having a slenderly profoundly perspective on issues of vulnerability and desertion. Fallon is undeniably charm, both fishy and sympathetic reverse Drew Barrymore ’ s fictional character in a film that was very loosely adapted from a Nick Hornby memoir about his traditionalist sexual love for Arsenal. — Jim Vorel

Director: Brian Helgeland
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The entire life of Jackie Robinson is a rich people subject for a film adaptation, not that this would be obvious after viewing 42, Brian Helgeland ’ s fourth feature film. But as a portrayal of segregated, post-war America, 42 serves its purpose, and if viewed primarily as a baseball movie, Helgeland ’ randomness film becomes a wholly enjoyable and thrilling experience, possibly even a gloat. 42 focuses on two legends in American baseball—Branch Rickey ( played by an appropriately theatrical Harrison Ford ), the executive of Major League Baseball who first integrated the sport, and Jackie Robinson ( Chadwick Boseman ) who became the first black to play in the majors when he signed to the Brooklyn Dodgers in 1947. The plat of 42 follows Robinson ’ mho conversion from the Negro Leagues to the Minor Leagues, and then to the Dodgers ( and its effect on baseball and the whole of America ). As Robinson, Boseman embodies the insubordination and military capability of a reluctant champion. He captures this tension down to his very jawline, simultaneously wearing the stress of segregation ( and integration ) and a love of the game throughout the film. 42 is at its best when it enters the stadiums and brings the report of Jackie Robinson, the american Legend to animation. brutal racism on the field and the swerve thrill of the game ( which even non-baseball lovers will feel ) collide with every violent pitch, with every homerun. In focusing on the nature of the crippled as it was experienced by Robinson, and the love of the game ( and every main character, in the end, displays this unconditional sleep together for the game ), 42 delivers a herculean narrative, adding one more all-important piece to the puzzle that is american history. — Shannon M. Houston
Director: Bennett Miller
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Based on the fascinate 2003 book of the lapp name, Moneyball centers on Oakland A ’ s general director Billy Beane and his impingement on baseball, and specifically on the execution of a mathematical approach to the game. As the done for GM, Brad Pitt ’ s chemistry with Jonah Hill ’ mho geeky and unconfident assistant Peter Brand was the best thing about the movie. It ’ mho one of the first times where his character looks wholly comfortable on screen, and the movie ’ sulfur success can be directly attributed his Oscar-nominated performance. — Benjamin Hurston
Directors: Chapman Way, Maclain Way
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There ’ south always been something romantic about mugwump minor league baseball teams, but that romance has never been quite in full flower like the floor of the Portland Mavericks, a team with no major league affiliation. Owned by actor Bing Russell ( Kurt Russell ’ s dad ), Maverickdom spread from Oregon to the nation, beginning with Joe Garagiola ’ south NBC special. With characters like blackballed Yankees pitcher Jim Bouton, the beginning womanhood cosmopolitan director in baseball ( long time 24 ) and the first Asian-American ( at 22 ), the inventor of Big League Chew, batboy Todd Field ( Oscar-nominated screenwriter for In the Bedroom ), and a ball dog, the antics of the team were a entertain as the game itself. And yet the team ’ s run from 1973-1977 was one of the best in the minor leagues. Bing ’ mho goal was to bring back the rejoice and fun of the minor-league teams of the first half of the twentieth century, to embody that baseball cliché—for the love of the plot. As Bouton says of his boyfriend $ 400-a-month teammates, “ Our motivation was simple : revenge. We loved whomping fuzzy-cheeked college-bonus babies owned by the Dodgers and Phillies. ” It ’ s an underdog floor made for a documentary, and Chapman and Maclain Way have given the floor the doctor it deserved. — Josh Jackson

Director: John Sayles
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Try to imagine for a second gear a global in which baseball players didn ’ t catch paid millions and millions of dollars. back in 1919, the members of the Chicago White Sox had problems paying their bills barely like the rest of us, and so they decided to throw the World Series in exchange for some gambling winnings. Unlike most sports movies, Eight Men Out isn ’ t a glorious narrative of victory or redemption ; it ’ s a sad story about desperate men who are forced to live with the dishonor of their actions for the rest of their lives. Say it own ’ metric ton indeed, Joe. — Bonnie Stiernberg
Director: Penny Marshall
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Of naturally, a film about women ’ s baseball during WWII is going to feature an great frame of players ( Geena Davis, Rosie O ’ Donnell, Madonna ), but top placard was given to Tom Hanks. His portrait of a fall baseball great trying to regain respect ( and kick the bottle ) is one of the actor ’ randomness fine moments and helped cement his title of most likable actor on the american screen door. Who can ever get tired of that celebrated wisecrack, “ There ’ s no crying in baseball ! ” a staple that baseball commentators throw out like it ’ s their fastball ? — Joe Shearer
Director: David S. Ward
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many can laugh at this crazy hurl of oddballs, but for those in Cleveland and northeastern Ohio, it ’ s all excessively real. not until the second film ’ south release did the Cleveland Indians finally break out of their 30-year depression. Some will say it was the newly stadium. Others, the tied more superstitious ones ( most baseball fans ), may point to the dominance and swagman of Rick “ Wild Thing ” Vaughn, as portrayed by Charlie Sheen. ( Fun fact : shininess was actually a ace pitcher in high educate. ) Whatever the case, the actually bad times are in the past, and let ’ s hope, for the sake of another one of these movies popping up, they stay there. — Joe Shearer

Director: Jeffrey Radice
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If you ’ ve always heard of Dock Ellis, then you know the report : in 1970, pitching professional testis for the Pittsburgh Pirates, he threw a no hitter ( a “ no no ” ) while high on LSD. It ’ s a bang-up history, specially told from Dock ’ s indicate of view—replete with all-important tidbits about how the catcher wore record on his fingers indeed that the trip Dock could see the signals, or how the level of Dock ’ s drunkenness wasn ’ t precisely a rarity—but that fib is only one page in the much broader report of Dock Ellis ’ s iconic tenure on this earth. A true-blue crazy with an admirable proclivity to give much zero fucks ( not to mention becoming, in retrospect, an unannounced civil rights brand ), Dock was a man of both free radical superficiality and progressive steadfastness—one of addiction, redemption, dedication and devotion. And the story went : In 1970, pitching professional testis for the Pittsburgh Pirates, Dock Ellis threw a no hitter while senior high school on LSD—it was a sad reminder of how far out of control his life had swerved. — Dom Sinacola
Director: Richard Linklater
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Everybody Wants Some!! is intended to play like a religious companion piece to Linklater ’ s ’ 70s-era Dazed and Confused, with the writer/director reveling in his turn-of-the-decade ’ randomness style and swagman. big lapels, bigger hair, even bigger facial hair and outright enormous egos are the norm throughout this nostalgic saga. Boasting little in the way of plot, Linklater ’ mho film is content to sidle up aboard Jake and his newly friends to see where their appetites, whims and libidos will lead. And its laid-back vibration pays dividends as it progresses, given that one-note characters who initially appeared to be smug louts, hyper-gonzo wild cards, dim-bulb doofuses or asinine hillbillies slowly develop semi-distinct personalities of their own. Their days devoted to slacking off, their nights spent trimming mustaches and dousing themselves in cologne before hitting the township in search of the next womanhood to bed, Linklater ’ s play-hard-and-party-harder characters are the embodiment of cocksure macho life force, all of them rightly convinced that, at least for the moment, they have the world by the balls. But there ’ randomness besides some necessity baseball team-based hazing thrown in for full measurement, which feels like an authentic representation of what dudes like this would be up to—and, consequently, serves as a buzzkill reminder of their basically dude-bro nature. — Nick Schager
Director: Michael Ritchie
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Vulgar, politically faulty and dear to the extreme, this baseball flick about a youth baseball team of misfits is a metaphor for that shocking reality check we all had as kids. possibly all grow ups aren ’ triiodothyronine function models. But through all the acquire and losing—mostly losing in the beginning—both the bad-example, beer-guzzling coach ( Walter Matthau ) and his bad-news Bears determine redemption through each other. Is it a “ kids ” movie ? No, it ’ s an everyone movie. — Joe Shearer
Directors: Anna Boden, Ryan Fleck
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Sugar, the moment film by writer-director couple Anna Boden and Ryan Fleck, follows promising baseball pitcher Miguel ( Algenis Perez Soto ) —nicknamed Sugar—from his home in the Dominican Republic through a series of minor league teams in the U.S. This international relations and security network ’ thymine The Natural, but simply naturalistic, a non-judgmental glimpse into the rigors of professional baseball, where young outsiders chase the american dream in its most iconic phase, face culture traumatize and forlornness in the work. Yet, Sugar is, more than anything else, a quality study of a particular young man, not an indictment of a system, and as you might expect from the writers and directors of Half Nelson, the film spends far more time studying the intricate details of Miguel ’ s biography than it does designing a dramatic discharge. Sugar, though, is a insidious film than Half Nelson, in many ways resembling the 1966 first sport by Ousmane Sembène, Black Girl, about a young charwoman who moves from Senegal to the south of France and feels domesticated by a whiten upper class. appropriately, the political barb are softer in Sugar, as I suspect they are in Miguel ’ s own thoughts. Miguel is an innocent who scantily speaks English, wholly unprepared for the nest of confusion that he ’ mho about to foment in his heart. Whether you find the film ’ s conclusion a thwart side step or a personal triumph depends on whether you ’ ve taken the movie ’ s many opportunities to understand that heart. I found it sublime. —Robert Davis

Director: Ken Burns
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Ken Burns ’ solicitation of documentaries have captured everything that makes America singular from sleep together to our nation parks to the Civil War. So of course he ’ mho devoted his singular talents and robust research department to sum up the history of baseball during the twentieth hundred in just 22 hours ( not including his follow-up The Tenth Inning ). It ’ s a television miniseries more than a movie, but we ’ ra including it here anyhow. Divided into nine innings, the project spends ample clock time on all the sport ’ south biggest personalities from Ty Cobb and Babe Ruth to Jackie Robinson and Roger Maris. But it ’ s as much about the changes to our nation as it is to what ’ s happening on the discipline, precisely like everything the great american Chronicler approaches. — Josh Jackson
Director: David Mickey Evans
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No other film in the history of film captures childhood summer nostalgia like this classic about a group of boys in the early ’ 60s who play baseball ( about ) every day at a local sandlot. When they aren ’ thyroxine play, the thing they “ tolerated best ” is going to the pool, where on one day, the geeky Squints plays out every son ’ randomness dream and lays a big one on the lifeguard, Wendy Peffercorn. Ah, one of the best and most appropriate uses of the Drifters ’ “ This Magic Moment. ” And then, there ’ second “ the fix ” —where Smalls naively borrows and loses his step dad ’ s Babe Ruth autographed ball, never listening of the “ dame ” who signed it. Who says childhood is simple ? — Joe Shearer
Director: Ron Shelton
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I believe in pathetic names like Crash Davis and Nuke LaLoosh. I believe in romantic comedies about giving up on a sealed phase of your life where characters stand up and deliver cliched “ I believe ” speeches that, despite being boundary line bum, somehow ring completely true. And yes, I excessively believe there should be a Constitutional Amendment banning Astroturf and the intend hitter. I believe in Bull Durham. The most engage presentation of the minor-league life on film—and a pretty salute to baseball, in general—this first base installment in the unofficial Kevin Costner Baseball Trilogy proved that baseball could equal boastfully box office. Costner and Susan Sarandon anchor this film that does its part to engender a love for the game and the people who court it. — Bonnie Stiernberg & Michael Burgin

Directors: Sam Wood, William Cameron Menzies
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Gary Cooper stars as the legendary Lou Gehrig, whose stunning career was ultimately cut curtly by the boldness disease that would carry his name. But it ’ s impossible to view this film and this valet ’ mho life without feeling a act affirmative, particularly when Cooper recreates Gehrig ’ s base farewell speech. When he utters that celebrated, knock-down course to a backpack Yankee Stadium, “ Today, I consider myself the luckiest world on the face of the earth, ” you can ’ metric ton help but be overwhelmed by goosebumps. It ’ second one of the saddest happy endings ever. — Joe Shearer
Director: Phil Alden Robinson
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There ’ s a little illusion in most sports drama, overcoming impossible obstacles and peaking at the charming moment to carry the day. But Field of Dreams, adapted from W.P. Kinsella ’ s novel Shoeless Joe, international relations and security network ’ t a report of athletic art or winning the day. It ’ s a story of believing in the magic of sports. It ’ s a report of fathers and sons, of the hard oeuvre of play, of disconnecting from the worries of the real world to play a game of catch. In other words, it ’ s about baseball, the only frolic that can turn an Iowa cornfield into a little slice of eden. Of course Kevin Costner and James Earl Jones ’ buddy journey to belief is sentimental ; America ’ second pastime is nothing without sentiment. The major leagues may wish that all it took was new state-of-the-art taxpayer-subsidized sports complexes outside of their traditional business district locales to spike attendance, but in 1989 we all believed. “ If you build it, they will come… ” — Josh Jackson

Director: Barry Levinson
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not just the greatest baseball movie of all time, but possibly one of the greatest sports films of all time. Roy Hobbs ( Robert Redford ) is a predict, young prospect with a bright career ahead of him in the 1930s when a troubled femme fatale guns him down at age 19. Sixteen years after the fact, he isn ’ t ready to let go of his love of the game, getting signed to a fabricated scrub team called the New York Knights. It ’ randomness more than a fib about baseball ; it ’ mho about a middle-aged man living his dream despite the naysayers. It ’ s a narrative about a guy distracted by the glitzy glamorous babes all celebrated people gravitate towards, merely to discover a happier life with his high-school sweetheart ( Glenn Close ). But when Hobbs hits the big two home runs—the one that breaks the clock, and the show-stopper at the end that kills the lights, literally—and Randy Newman ’ s beautiful score triumphantly takes over, you know this is the ultimate carry on the summer classic. — Joe Shearer

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