Home Team Story:-
This nondescript Netflix offering peculiarly blends elements of NFL coach Sean Payton’s life with a wholesale imitation of ‘The Bad News Bears.’
Movie Ratings
| Release Date | 28 January 2022 |
| Language | English |
| Genre | Comedy, Sport |
| Duration | 1h 35min |
| Cast | Kevin James, Taylor Lautner, Rob Schneider, Jackie Sandler, Tait Blum |
| Director | Charles Kinnane, Daniel Kinnane |
| Writer | Chris Titone, Keith Blum |
| Cinematography | Seamus Tierney |
| Music | Rupert Gregson-Williams |
| Producer | Adam Sandler, Kevin Grady, Allen Covert, Kevin James, Jeff Lowell, Jeff Sussman |
| Production | Netflix |
| Certificate | 13+ |
Initially, “Home Team” teases a more intriguing narrative. Starting with the New Orleans Saints’ 2010 Super Bowl win — a momentous event in coach Sean Payton’s career, marred by his subsequent suspension due to the Bountygate scandal — the film sets a morally complex stage. However, any hopes of exploring this complexity are dashed as the film swiftly veers into a shameless imitation of the “Bad News Bears” storyline, where Payton returns home to coach his son’s team, imparting life lessons along the way.
As expected from a Netflix production, particularly one in collaboration with Adam Sandler’s Happy Madison, “Home Team” opts for simplistic cheer over depth. While it may suffice for young viewers with a passing interest in football, it offers little to those seeking substance. Kevin James, portraying a heavily fictionalized Payton, injects some flavor into the otherwise bland narrative.
The film briskly glosses over Payton’s suspension and his arrival back in his hometown, where he reconnects with his estranged son Connor, a football player on a struggling team. Encouraged by a local coach to assist the team, Payton’s coaching style quickly becomes aggressive, prioritizing victory over sportsmanship, much to the detriment of the players’ morale.
Ultimately, “Home Team” follows a predictable trajectory, heavily borrowing from classic sports movie tropes, particularly “The Bad News Bears.” While it espouses the familiar “everybody plays” ethos, it lacks genuine sentiment amidst a checklist of expected scenes and comedic tropes. Any potential depth is brushed aside, leaving the film devoid of complexity, much like its playbook.
