SugarThe directors of Half Nelson struggle on the follow-up. The baseball sequences seem to be mostly there as proof that they can handle large-scale sequences. The insight into the farm system is, well, minor. What could be an interesting look at the industrial part of the sports industry becomes instead a religious parable. The finale–particularly a use of a Spanish version of L. Cohen’s “Hallelujah”–is dubious. The principal strength of the movie is a fetishistic fascination with their central performer, but his character is too aimless for the rest of the movie to sweep the audience up with it.

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