Critics’ reviews

A League of Their Own (1992)

11 reviews from 11 publications. Critics’ score 68: 4 positive, 0 mixed, 2 negative.

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68
Positive
4
Mixed
0
Negative
2

Most critics respond warmly to A League of Their Own, praising its good-natured humour, period detail and affection for the women’s baseball team at its centre. Praise clusters around the cast: Geena Davis and Tom Hanks receive repeated approval, while Madonna’s supporting performance also wins over reviewers. The favourable reviews find that Penny Marshall’s emphasis on personalities gives the sporting history warmth, with several valuing the film’s blend of comedy and bittersweet feeling.

The spread is wide, however, and sentiment is the main dividing line. Dissenting critics find the framing scenes heavy-handed, the characters predictable or the sibling conflict unconvincing; some argue that the ensemble deserves more attention than it gets. The feminist reading also splits opinion: The New York Times credits the comedy with advancing it, while The Independent finds the treatment insufficiently feminist despite the premise.

The Guardian
9 March 2022
80*

The critic finds the 1992 baseball comedy a terrifically warm, heartfelt and effortlessly entertaining picture that stands the test of time. Outstanding performances, particularly from Tom Hanks and Madonna in a small role, are singled out for praise alongside the film's old-fashioned charm and glorious montages.

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Empire
1 January 2000 · Angie Errigo
75*

The review highlights the film's good-natured blend of humour, sentiment and period detail in its story of a women's baseball league. It singles out strong performances from Tom Hanks and Geena Davis for praise.

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The Independent
17 September 1992
40*

The critic finds the film overly sentimental and insufficiently feminist despite its female baseball team premise during WWII. It praises Madonna's supporting role while faulting the predictable characters and epilogue.

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Time Out
22 March 2012 · CM
40*

The film captures some heartbreaks and home runs but overall has little vigour. It starts promisingly with recruiting scenes but piles on sentiment in the framing sequences and neglects the ensemble in favour of a sense of historical occasion.

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Los Angeles Times
1 July 1992 · Kenneth Turan

The review notes the film starts fresh and funny with strong performances, especially from Geena Davis, but loses its way with excessive sentimentality and unconvincing sibling conflict in the later sections.

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RogerEbert.com
1 July 1992 · Roger Ebert

The critic praises the film for its bittersweet charm and fresh focus on the personalities of the players and the coach's development, highlighting how it captures an early chapter of women's liberation amid baseball traditions.

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The Hollywood Reporter
29 June 1992 · Duane Byrge

The critic calls the film a warm and scruffy charmer that should appeal to fans of all ages. Penny Marshall's spirited direction and the strong ensemble performances, especially from Geena Davis, Tom Hanks, and Madonna, are singled out for praise.

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The New Yorker
6 July 1992 · Michael Sragow

The critic finds the film lacks originality, with Marshall directing for audience appeal through gags and sentiment rather than pursuing a stronger feminist angle or character depth beyond sisterly rivalry.

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The New York Times
1 July 1992 · Vincent Canby

The review calls the film one of the year's most cheerful and relaxed comedies, a funny movie that scores points for feminism while focusing on the Rockford Peaches team and its standout players like Geena Davis's Dottie.

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Collider
2 August 2022 · A · Emily Bernard
95

The critic praises the film's heartfelt storytelling about sisters, female empowerment, and history, highlighting the strong ensemble cast and emotional depth beyond a typical sports movie.

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The Ringer
30 June 2017 · Katie Baker
90*

The critic calls it one of the best sports movies, praising its faithful tribute to women's baseball history, brilliant cast, nuanced characters, and enduring cultural impact.

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Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate