- Item Includes:: Hat
- Pictured items not included:: Shirt
- Material:: 100% Cotton
- Adult Bad New Bears Cap
- Features a bright yellow baseball cap with The BadNews Bears logo on the front.
In 1977, The Bad News Bears in Breaking Training had a moment in the sun. A glowing junk sculpture of American genres—sports flick, coming-of-age story, family melodrama, after-school special, road narrative—the film cashed in on the previous year’s success of its predecessor, The Bad News Bears. Arguing against the sequel’s dismissal as a cultural afterthought, Josh Wilker lovingly rescues from the oblivion of cinema history a quintessential expression of American resilience and joy.
Rushed into theaters by Paramount when the beleaguered film industry was suffering from Â"acute sequelitis,†the (undeniably flawed) movie miraculously transcended it! s limitations to become a gathering point for heroic imagery drawn from American mythology. Considered in context, the film’s unreasonable optimism, rooted in its characters’ sincere desire to keep playing, is a powerful response to the political, economic, and social stresses of the late 1970s.
To Wilker’s surprise, despite repeated viewings, The Bad News Bears in Breaking Training continues to move him. Its huge heart makes it not only the ultimate fantasy of the baseball-obsessed American boy, but a memorable iteration of that barbed vision of pure sunshine itself, the American dream.
First of a trilogy of films takes an unflinching look at the underbelly of little league baseball in Southern California. Former minor leaguer Morris Buttermaker is a lazy, beer swilling swimming pool cleaner who takes money to coach the Bears, a bunch of disheveled misfits who have virtually no baseball talent. Realizing his dilemma, Coach Buttermaker brings ab! oard girl pitching ace Amanda Whurlizer, the daughter of a for! mer girl friend, and Kelly Leak, a motorcycle punk who happens to be the best player around. Brimming with confidence, the Bears look to sweep into the championship game and avenge an earlier loss to their nemesis, the Yankees.This likable 1976 comedy gently skewers the whole post-
Rocky mania for movies about losers who find their mettle or salvation or purpose in life in competitive sport. Walter Matthau stars as a drunk who becomes manager of a pathetic little-league baseball team. When he brings in a talented girl pitcher (Tatum O'Neal), the crew have an actual chance at winning some games and maybe a championship. But director Michael Ritchie (
Downhill Racer) undercuts the romance of it all with the team's foul-mouthed tendencies and Matthau's own decadent spin on mentor-coachdom. Similarly to Ritchie's wicked comedy
Smile --which lampooned the fervor surrounding beauty pageants--
The Bad News Bears pokes fun at another American institution.
--To! m KeoghIn 1977, The Bad News Bears in Breaking Training had a moment in the sun. A glowing junk sculpture of American genres—sports flick, coming-of-age story, family melodrama, after-school special, road narrative—the film cashed in on the previous year’s success of its predecessor, The Bad News Bears. Arguing against the sequel’s dismissal as a cultural afterthought, Josh Wilker lovingly rescues from the oblivion of cinema history a quintessential expression of American resilience and joy.
Rushed into theaters by Paramount when the beleaguered film industry was suffering from Â"acute sequelitis,†the (undeniably flawed) movie miraculously transcended its limitations to become a gathering point for heroic imagery drawn from American mythology. Considered in context, the film’s unreasonable optimism, rooted in its characters’ sincere desire to keep playing, is a powerful response to the political, economic, and social stresses of th! e late 1970s.
To Wilker’s surprise, despite repeated ! viewings , The Bad News Bears in Breaking Training continues to move him. Its huge heart makes it not only the ultimate fantasy of the baseball-obsessed American boy, but a memorable iteration of that barbed vision of pure sunshine itself, the American dream.
In 1977, The Bad News Bears in Breaking Training had a moment in the sun. A glowing junk sculpture of American genres—sports flick, coming-of-age story, family melodrama, after-school special, road narrative—the film cashed in on the previous year’s success of its predecessor, The Bad News Bears. Arguing against the sequel’s dismissal as a cultural afterthought, Josh Wilker lovingly rescues from the oblivion of cinema history a quintessential expression of American resilience and joy.
Rushed into theaters by Paramount when the beleaguered film industry was suffering from Â"acute sequelitis,†the (undeniably flawed) movie miraculously transcended its limitations to become a gather! ing point for heroic imagery drawn from American mythology. Considered in context, the film’s unreasonable optimism, rooted in its characters’ sincere desire to keep playing, is a powerful response to the political, economic, and social stresses of the late 1970s.
To Wilker’s surprise, despite repeated viewings, The Bad News Bears in Breaking Training continues to move him. Its huge heart makes it not only the ultimate fantasy of the baseball-obsessed American boy, but a memorable iteration of that barbed vision of pure sunshine itself, the American dream.
Includes one yellow baseball cap.
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