(2000)
3.5
Buzz McClain
A Shot at Glory is a tremendous film and a throwback to old-fashioned cinematic traditions. Elegant, exciting, heartbreaking and nearly perfect it its structure, casting and production values, it transcends every genre it touches. The dramatic elements are genuine and carefully developed; the brilliant sports sequences are edited in such a way that all you need to know about soccer is that you kick a ball into a goal; and the comedic sequences are cleverly rendered so as not to dilute the intensity of the drama. Robert Duvall's daring Scottish burr is utterly convincing (but may take unseasoned viewers a moment to understand), and the fact that he also pulls off a remarkable performance despite the accent only shores up his reputation as one his generation's finest actors. (Let's see Robert DeNiro take that challenge.) The undeniable chemistry between Ally McCoist and Kirsty Mitchell as Coach McLeod's estranged ex-son in law and daughter reveals marvelous, entirely human understanding. And the surprising casting of Michael Keaton as the glory hungry team owner -- who threatens to move the squad to Dublin if they don't bring home a trophy -- was a brainstorm that works wonders. Mark Knopfler's always-appropriate score ranges from atmospheric to rock, and heightens the mood of each scene. A Shot at Glory is one of those rare things -- solid cinema. It's a compelling story interestingly told in unpredictable ways. We could say it compares well to others of its ilk, such as Rocky (the Best Picture of 1976) or Hoosiers or Rudy or even The Black Stallion, but we don't have to because it stands on its own.
A Shot at Glory on AllMovie
A Shot at Glory (2000)
