Most critics take to it. Eight of ten come out in favour, several treating the film as a fable in the old Hollywood manner, using baseball as a way for fathers and sons to make peace. Kevin Costner is credited more than once with carrying the whole thing; Amy Madigan is noted for making the couple believable, and James Earl Jones and Burt Lancaster draw particular mention, Lancaster’s late turn especially. Many say the film turns sentiment into feeling rather than simply trading on it.
The reservations cluster on the script. Some find the aphorisms cloying and the sentimentality laid on thick, and one or two see the machinery working when it should be hidden. The spread is wide, from full marks to outright dismissal. The New Yorker is the lone hard dissent, calling the film manipulative and clichéd and objecting to its characters being flattened into feel-good types. Reviews written years after release are, if anything, fonder than those written at the time.
