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Now Playing at Amherst Cinema: “Eephus”

“Eephus,” directed by Carson Lund, is a new twist on the traditional sports film, following the final game of an amateur baseball league in a small Massachusetts town during the 1990s.

The narrative centers on two teams — the Adler’s Paint and the Riverdogs — competing in their last match before the beloved field is demolished to make way for a new school. The game encompasses nine innings of cheap beer, debauchery and spirited camaraderie before the shattering realities begin to resonate with the players.

For those wondering what “Eephus” means, it is a distinguished, old-fashioned baseball pitch that catches batters off guard with its slow delivery. It may look like a meatball coming to the plate, but an eephus pitch typically leaves batters befuddled as they recede back to the dugout.

In a lot of ways, the eephus pitch is a powerful metaphor for what “Eephus” represents. This film does not play it safe as a traditional hangout movie. Lund and his screenwriting partners, Michael Basta and Nate Fisher, instead slow pitch a deceptively nuanced narrative that reckons with the passage of time and fading sense of community that these players are gradually coming to terms with.

“Eephus” opens like an easy-going sports lark, almost like a grown-up version of “Sandlot.” The motley crue composed of young enthusiasts and hardened baseball elderstatemen takes the field with a childlike glow. The audience eavesdrops into nooks and crevices of these people’s lives; some are family men looking for a recreational escape, while others possess an adoring love for baseball that imparts them with nostalgic whimsy. They crush beer cans, trade biting remarks and face off in a middling athletic showcase that feels remarkably authentic to any adult neighborhood league.

Authenticity is a true calling card for “Eephus.” Filming at Soldiers’ Field in Worcester County, Lund beautifully conveys rich textures from the New England experience. The imagery is ripped straight from the fabric of a scenic fall day, with the warm glowing sun evolving into a chilling, moon-lit night as the game goes along. This visual transition curves beautifully alongside the film’s ruminations on the characters facing the sunset of a beloved chapter in their lives. I also applaud Lund for the expressive details placed throughout “Eephus.” From humorous corporate sponsor ad-reads to a hapless food vendor played by the great Joe Castiglione, “Eephus” exudes charm around every corner.

Once the latter innings arrive, the energy at Soldiers’ Field begins to erode. Some players cannot quite comprehend the burden of knowingly-stepping up for their final at-bats; others simply just want to go home after a seemingly endless game (side note: “Eephus” really does capture the languid baseball game pace with effortless ease). Lund’s film marinates on these mixed sentiments beautifully because the film never strikes out chasing overly-cinematic revelations. There are no grand speeches or walk-off home runs, which feels a lot more true to life. I give the cast ample credit for conveying this emotional roller coaster ride with personality and genuineness. The deft balance of joy and melancholy that “Eephus” manages is a rare feat in cinema.

I would be bold enough to label “Eephus” as a modern sports classic. I hope this film finds an audience eventually; I know it will speak to many sports fans.

My Last Pitch

Reviewing a movie like “Eephus” feels like the perfect note to conclude my time writing for Reminder Publishing. I joined the organization nearly four years ago and began crafting dining and entertainment stories over the last two years. All in all, it’s been a tremendous joy and an experience I am forever grateful for. I want to thank all my friends and mentors at Reminder Publishing over the years for their support. I also want to thank all of you for reading my ramblings. I hope you had a mostly good time!
Before the music plays me off, to quote Joe Pesci’s infamously short Oscar speech from winning for “Goodfellas,” “It was my privilege, thank you.”

Matt Conway
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