Ben Affleck grapples with his demons in sports drama “The Way Back”

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Photo/Warner Bros. Pictures via AP
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By Richard Roeper

Jack Cunningham has the moves of a veteran alcoholic.

When Jack drinks athome, he puts one can of beer in the freezer to make it extra cold. Every time he’s ready for a fresh one, he grabs a can from the fridge, puts it in the freezer and subs it out for the can already there.

When it’s quitting time at the construction site, Jack heads to his truck and pours a can of beer into a fastfood beverage cup, so he’ll have something to drink on his way to Harold’s Bar, his nightly hangout.

He also drinks in the shower, in the office and pretty much wherever and whenever he’s awake.

Ben Affleck plays the hard-drinking former high school basketball star now coaching at his alma mater in “The Way Back,” and it’s impossible to ignore the parallels with Affleck’s long and very public struggles with addiction.

When Jack shows up at his sister’s house for Thanksgiving with a box filled with booze, it’s all too reminiscent of the infamous tabloid photos of a relapsing Affleck with a box of liquor in hand.

Still, due to Affleck’s performance, an involving script by Brad Ingelsby, who penned the scripts for “Out of the Furnace” and “American Woman,” two of the most criminally underappreciated films of the last decade, and strong, docudrama-style direction from Gavin O’Connor (“Warrior,” the Affleck-starring “The Accountant”), “The Way Back” stands on its own as a sports drama following the classic underdog story arc — and an unflinching portrait of a broken man staring down the barrel of two options: get help and start repairing his life, or die.

Jack is 25 years past his days as a local high school basketball legend who threw away a full ride to Kansas. He grinds through his construction job, gets loaded at the local bar or at home, passes out, wakes up and does it all over again.

Even the people who love Jack the most, including his sister Beth (Michaela Watkins) and his estranged wife, Angela (Janina Gavankar), are at or near the breaking point with him.

In a not entirely plausible but necessary plot contrivance, when the head coach at Jack’s alma mater, Bishop Hayes High School, is put out of commission, Jack is offered the job – even though he’s never coached in his life and hasn’t picked up a basketball in nearly a quarter-century.

At this point, “The Way Back” shifts gears to become a root-for-the-little-guys sports movie a la “Hoosiers.” Even though enrollment at the parochial school is way down and there are only 10 players on this woeful hoops team with exactly one victory on the season, Jack finds a way to motivate the squad. In the process, he looks to be making some progress on the personal front, even though he’s still drinking too much and his obscenity-laced sideline outbursts concern the team chaplain, mostly to comedic effect.

The basketball scenes are impressively choreographed, as Bishop Hayes goes on an unlikely winning streak and is positioned to make the playoffs for the first time since Jack’s playing days. Jack becomes a positive force, on and off the court, in the lives of these kids.

Until, well, let’s just say there’s a lot more movie still to come and a lot of lingering subplots still to be addressed.

Religious symbolism and issues of faith abound in “The Way Back,” from the obvious – it’s Bishop Hayes’ priest who offers Jack his chance for redemption – to the small visual touches – Angela’s gold cross pendant and the small crosses on the backs of the team’s jerseys.

Nearly every supporting character in the film has a heavy cross to bear. When Jack asks Dan (Al Madrigal), his assistant coach and a full-time teacher at Bishop Hayes, why he didn’t take over the head coaching job, Dan explains his mother has multiple sclerosis and he and his sister split the caregiving duties.

At times, “The Way Back” skirts the edges of melodramatic overkill with an over- abundance of heartbreaking backstories for its characters. But despite those momentum-stalling and unnecessary detours, the irresistibly cheerworthy basketball sequences and Affleck’s resonant and authentic performance are more than enough to carry the day.

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