movie review 50 to 1

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‘50 to 1’ movie review

Watching " 50 to 1 ," a horse-racing drama inspired by the true story of long-shot Mine That Bird's upset victory in the 2009 Kentucky Derby , is a lot like watching the original race — as long as you factor in about 100 minutes of pre-race television programming. As in real life, the exciting part lasts only a minute or two, and then it's over. The rest of the movie is filler (or maybe foreplay).

How you feel about sitting through that depends on whether you’ve seen an underdog sports drama before. “50 to 1” has just about every cliche of the genre: an inconsistent athlete with more heart than wins; a coach/trainer who believes in him; and a comedy of errors leading up to the ultimate 11th-hour victory. The more boxing/baseball/ice hockey movies you’ve seen, the less appealing “50 to 1” will be.

Opening with a bar fight that reportedly represents the actual circumstances under which Mine That Bird's trainer, Chip Woolley , and co-owner, Mark Allen, (who's listed as a co-producer of the film) first met, the movie wastes no time in painting its central characters as lovable reprobates and cantankerous misfits.

The cadre of New Mexico cowboys responsible for Mine That Bird’s care and feeding — Skeet Ulrich’s Woolley, Christian Kane’s Allen and William Devane’s crusty veterinarian/co-owner Leonard “Doc” Blach — are a motley bunch. Woolley, the washed-up loser, believes in his horse, which chronically loses steam in the homestretch. Allen, the wealthy, boozing moneybags of the operation, believes in Woolley (for reasons that are dramatically unsupported). And Blach, the aging voice of reason, believes in neither of them.

Despite the formulaic setup, “50 to 1” manages to gin up a modicum of anticipation. Ulrich isn’t half bad as Woolley; he has believable intensity and charisma that propel the film, even when he’s required to perform such pratfalls as breaking a motel bed in half by collapsing on it. (For much of the movie, he’s on crutches. That true-life touch more or less replicates the actual indignities suffered by his character, whom TV viewers may remember hobbling into the winner’s circle with an injury incurred in a motorcycle accident.)

Even if you've never heard any of this back story — let alone anything about Mine That Bird — the outcome of the film is never seriously in doubt. That leaves filmmaker Jim Wilson in the predicament of having to entertain us by showing how the horse and his handlers get their act together. Unfortunately, "50 to 1" never really does that, implying that the biggest factor behind Mine That Bird's performance in the Derby was the skill of his rider, jockey Calvin Borel , who doesn't show up until quite late in the film.

By the way, Borel, who plays himself here, shouldn’t quit his day job.

If “50 to 1” were about 15 minutes shorter, all of this might have made for a passable diversion. As it is, “50 to 1,” much like Mine That Bird, flags before reaching the finish line.

PG-13. At Cinema Arts Theatre. Contains some crude language, suggestive material and a bar brawl. 110 minutes.

Where to Watch

Skeet Ulrich (Chip Woolley) Christian Kane (Mark Allen) William Devane (Leonard Doc Blach) Madelyn Deutch (Alex) Todd Lowe (Kelly) David Atkinson (Bill Woolley) Calvin Borel (Self (TFIOS)) Bruce Wayne Eckelman (Bob Baffert) Hugo Perez (Miguel) Eloy Casados (Charlie Figueroa)

Based on the inspiring true story of Mine That Bird, a misfit group of New Mexico cowboys find themselves on the journey of a lifetime when their crooked-footed racehorse qualifies for the 2009 Kentucky Derby.

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Who among us doesn’t love a longshot; especially if you’ve got the winning bet.  One such winning bet paid off on 50 to 1 odds at the 2009 Kentucky Derby, not only for Chip Woolley and Mark Allen, owners of Derby winner Mine That Bird, but pays dividends again now with one of the truest feel good films of the summer, 50 TO 1.  Written and directed by Jim Wilson, Oscar winning former producing partner with Kevin Costner, and co-written by Faith Conroy, 50 TO 1 is inspired by the true story of Mine That Bird and his owners, Woolley and Allen.  Captivating us with the story of the little two-year old horse that could, and did, Wilson makes us all feel like winners.   Thanks to beauteous cinematography by Tim Suhrstedt, 40 scenic locations throughout America, including actual lensing at Churchill Downs, winning Mine That Bird jockey Calvin Borel playing himself and the film debut of a new equine star, Sunday Rest as Mine That Bird, my money is on 50 TO 1 to win a place in your heart.

As the film opens we meet Chip Woolley and Mark Allen, two guys who just happen to be in the wrong bar at the wrong time and get into a knock down drag out Old West style brawl.  While Allen would head up to Alaska and all the monetary potential of gold laden oil pipelines, Woolley and his brother end up as rather down on your luck horse trainers.   But as luck would have it, years later the two would reconnect in New Mexico with Allen having hit the mother lode and now a successful businessman and racehorse owner and Woolley with hat in hand seeking a job as a trainer for Allen’s stable.

A longshot in life once himself, Allen doesn’t just give Woolley a chance, they two of them, together with Allen’s partner and equine veterinarian Leonard “Doc” Blach, decide to give a little horse with a lot of heart a chance – Mine That Bird. A scrawny little thing, Bird has phenomenal speed but falls apart in the homestretch.  Is it his training?  The jockey?  Against Doc’s good judgment, Allen “has a hunch” that Woolley and Bird can deliver.  And Woolley has undying faith in Bird.

Facing obstacles at every turn, especially their boozing, brawling, womanizing selves, it takes a near death experience for Woolley to see the light of day and realize that his faith in Bird will be rewarded when he starts working with Bird and not expecting the horse to win races alone.  Joining in the fray is Allen’s female training jockey, Alex, a helluva rider who serves as a constant instigator and antagonist for Woolley.  So imagine the everyone’s surprise when Allen gets a call informing him that thanks to his Canadian winnings, Bird qualifies to run in the Kentucky Derby.

Now, anyone that knows anything about the Derby knows it’s all about the bluebloods, high society, royalty and money when it comes to horse racing at the Derby, certainly not a motley crew of rowdy New Mexico cowboys with a smaller than average two year old horse that can’t pull out a win.

As Chip Woolley, Skeet Ulrich gives a determined performance, working the emotional and character arc that takes Chip from obnoxious buffoon to a dedicated trainer and man who wants to do better.  Ulrich gets under your skin and makes you not only root for him but want to do so.  He makes you believe.  So intent on capturing the realism of this story, Ulrich subjected to himself to some extreme physical stunts and pratfalls which mirrored the real life events of Chip Woolley himself (including breaking a motel bed in half and landing on his ass).  Notable is that Ulrich plays Woolley in leg cast and on crutches for much of the film as Woolley suffered extensive injuries in a motorcycle accident prior to the Derby.  So severe were the injuries that Derby watchers may recall Woolley hobbling into the winner’s circle on crutches in black hat and jacket with tears in his eyes and a catch in his throat.  Ulrich is so immersed in the role that at that moment it’s easy to forget this is a film and not a playback of the Derby.  A testament to Ulrich’s performance and Wilson’s direction.

I will watch Christian Kane from here to kingdom come.  In 50 TO 1, he is clearly comfortable in the role of Mark Allen and slips into it like a well worn horseshoe, but while Kane looks good and is more than easy on the eyes, his acting leaves something to be desired as the performance – and the character – is strictly one-note.

Perfectly cast is William Devane, adding some crotchety elder wisdom and a touch of country bumpkin cow-out-of-pasture humor as Doc while giving the film some grounding.    I would be remiss not to mention the casting of extras and minor racing people who are physically spot on with their real life counterparts, and none better than Bruce Eckelman who captures legendary Bob Baffert to a tee.

But I have to say, the real winners here (and it’s tough to call win, place or show with this trio) are Madelyn Deutch, Calvin Borel and Sunday Rest.  With a rich pedigree as daughter of Lea Thompson and director Howard Deutch and sister to Zoey, Madelyn Deutch deftly gives Alex a feisty spirit that while matching the testosterone fueled “cowboy” that Ulrich and Kane bring to Woolley and Allen, not to mention the spirit within Mine that Bird, she shines and tempers the bar brawl attitude with some class.  Works well in a liaising sort of way between cowboys and class at the Derby Ball.  Adding to Deutch’s performance are her own skills as a horsewoman which means it’s Deutch you see on the track, it’s Deutch you see on Sunday Rest.

And then there’s the legendary Calvin Borel.  Borel is joy personified.  And his casting as himself almost didn’t happen.  According to writer/director/producer Wilson, his initial thought was “I don’t even know if getting Calvin’s a good idea. . .I’ve got enough scenes and dialogue and interacts that I don’t know how Calvin can necessarily pull this off.  Its hard for anybody to play themselves.”  By the time Wilson went to Borel, he too, was reluctant.  As Wilson relates, Borel had plenty of reasons to say no.  “He said, ‘I’m still racing.  I can’t take these weeks off to shoot.  I’m in my career.  I’ve just gotten to the Hall of Fame.  I’m looking for my Derby horse.  I can’t really do it.’  It was nip and tuck for quite a while.  Finally he said, ‘You know what?  Let’s give it a shot.’” One of the smartest casting moves Wilson could have made.

As Wilson talks about Calvin Borel, his respect and admiration is beyond evident.  “He’s very funny.  Having Calvin was such a joy.  He was a little nervous the beginning of the first day because it’s cameras and action and he’s working with Skeet [Ulrich] and Christian Kane and Bill Devane and people he knows.  He was ‘Oh God.  You could tell I’m kinda gulping a little bit that I’m not gonna get through this.’  By noon after the first day, he was so comfortable.  He said, ‘You’re in my house now.’  He realized he can play himself and was good at it.  And to bring all that emotion to the film, too.  He just let it out.  The last third of this picture stars Calvin Borel.”

Calling on sense memory and steeped in authenticity and Wilson’s recreation of that specific Derby day, Borel left nothing on the track with his performance.  “When he’s doing those scenes, I’m not having to direct him.  I’d call “action”, he’d hop on that horse and you’d throw the roses over him and he starts crying and hugging and screaming.  It was like ‘Wow!’ . . .He let it all out.”  Described by Borel as “freakish”, after filming him on Sunday Rest going full out on the track, he told Wilson, “I felt like I’m in a race.  I felt like for that 20 seconds it was just like I was on Bird getting ready for my move and seeing if I had any left.”  A treat for Wilson, “[Calvin] wore the same boots he wore at the Derby.  He brought in the same silks.  He sat at the stool he sits at in the jock’s room.  He went to his very locker.  That was the photo of his mom and his dad.  That’s all his stuff.  It wasn’t Hollywood make believe.  That was all Calvin.”  This is the stuff of which  dreams – and emotional underdog sports films – are made.

The real star, however, is Sunday Rest who steals the film, and our hearts, as Mine That Bird.  Perhaps one of the most difficult castings because of Mine That Bird’s small narrow stature, and wanting whatever horse was cast to look as much like Bird as possible, Wilson undertook almost Herculean efforts in his horse casting.  “ We looked at nearly 400 head of horses.  Each time my trainers were out there looking they’d send photos over the internet.  I’d make them shoot all four sides and everything they could possibly do – height size, color, the whole thing.  Finally we found a match, and a matching character to a good bit, because Bird really was a character.  I didn’t want just a look alike” Eventually finding a three-year old thoroughbred in Calgary, Canada named Sunday Rest, what Wilson didn’t realize was the depth of the talent that he bought.  “He plays all of the big scenes.  There aren’t two horses.  Normally in these movies there are 7, 8 or 9 horses that you switch in and out to do various things.  But Sunday Rest did the whole movie.  He starred in the whole darn thing.”   It was thanks to Borel that the search to cast Bird was so arduous.  “Calvin always told me, ‘If this horse was another 100 lbs which easily could have been 200 lbs bigger horse, I never would have gone through that hole.  I never could have gone through there.  Because this horse was so agile and so narrow, I said, ‘Let’s go Bird!  I can make that hole.’  Most jockeys wouldn’t have done what Calvin did anyway but the fact that he’s scraping his boot on a little skinny horse is what allowed him to do that.  You just don’t do it with the bigger horses.”

Given that 50 TO 1 is inspired by the true story of Woolley, Allen and Mine That Bird, the outcome is assured, leaving Jim Wilson to tell the backstory and engage us for the 75+ minutes leading up to the Derby race itself.  Essentially two stories rolled into one,  that of Mine That Bird and getting to the Derby and then not so much the story of Woolley and Allen’s partnership but more Woolley’s journey of self-redemption, that for Wilson is why you make a film and why he wanted to make 50 TO 1.  “I was at home watching television with the Derby that year and I saw a race I had never seen before. . . [Bird] destroyed that field.  He toyed with them.  And it’s 50 to 1 – this wasn’t the favorite that was supposed to do this.  He wasn’t on anyone’s radar.  That’s what makes it great.  I don’t have to make believe with this story. [Woolley and Allen] did meet in a bar fight, all the major movements in this film are spot on.  This wasn’t Hollywood saying they nearly lost a horse on the travel or Chip shattered his leg in a motorcycle accident.  He did.  Everyone of those movements is real.”  And it’s the blend of characters that had an appeal for Wilson, and it’s that blend and the different traits that make for some wonderful undertones within the film.  Reflecting on Derby day 2009, Wilson recalls, “These guys are so denied any press.  You’re there, you’re at the Derby and they didn’t get an interview.  These guys didn’t get into a party.  It really was a nose up to you.  They’re an after thought at best.”  And then there’s Chip Woolley.  “A guy who had never been to Kentucky, had never been to the Derby, wears all black, he is a cowboy, he wears his heart on his sleeve.  You know what he’s all about.  He’s not capable of a lie or a fib.  It’s not in his make-up.  He’s not wired that way.  Those characters interested me.  When you wander into the Derby and you’re playing with big international monies and historically monies from generations passed down to raise horses and you come from the west, you are an outcast. . . I liked that and I liked that journey.  That to me was interesting.”

But that’s not to say there aren’t some problems with the script and this meld of two stories as each, but for the climactic Derby race, feels like it’s gotten the short shrift so that moments in the first and second act feel disjointed.  And while establishing the key moment of the initial meeting between Allen and Woolley in a bar brawl is necessary, the scene is too long, wasting time that could have been devoted to creating a better meld or adding some clarity in the second act.  While some may call it nitpicking, there are two off-handed dialogue references to the “huge heart” that Mine That Bird has, clearly a knock-off to the well seeded theme within Disney’s “Secretariat” where “huge heart” is a huge part of the Secretariat story.  But with 50 TO 1, we never get any real foundation for any dialogue about a “huge heart” pushing Bird to the finish line.  The two lines stick out like sore thumbs.  Similarly, there’s much reference to Woolley not being a good trainer, but we have no real training sequences so the idea dangles like a bad participle.  The lack of sufficient training sequences also leads to a lack of interaction between Bird and Woolley, although there is more of a connection and dynamic and Woolley and Alex. For a film called 50 TO 1, we need to see more of what made Bird a 50 TO 1 shot, not just that he’s owned by “cowboys”.

Exquisite is the only word to describe Tim Suhrstedt’s cinematography.  Scouting locations together, Suhrstedt was able to “get inside” Wilson’s vision in terms of what he wanted and didn’t want with the film.  Being a race horse owner himself, Wilson already knew the horse world, but it’s the vistas of America that give 50 TO 1 a wonderful palette and tonal bandwidth.   Proud of the fact that there’s no CGI in play, Wilson “ wanted big spaces so when you first hit New Mexico and you see that little track that Skeet Ulrich is working . . . I  said to Tim, ‘Let’s capture this – go as wide as we can.  I like big wide vistas but I also want detail on the show so you’ve got to do closeups of the horse.’  I didn’t want it to be in the middle.  I wanted to shoot some very wide big beautiful broad vistas.  We talked a great deal about going from the west to the east and the colors of the west and the desert and the dirt and the grit and to feel that and as you made your way and transitioned across the country to more greens and flowers, a real change.  He embraced every bit of it and then some.”  And then there’s a wonderful inter-cutting with actual racing footage – particularly the Derby.  The transition between art and reality is seamless.  Dazzling are come overhead “Busby Berekley” type shots that create some wonderful heart tugging moments.

Completing the emotional palette is a nuanced score by William Ross that is equally emotive be it capturing the sweeping grandeur of the American southwest, the intimate moments between a trainer and his horse or the heart-stopping thrill of victory.

50 TO 1 – and its new star Sunday Rest – wins your heart by a mile.

Directed by Jim Wilson

Written by Jim Wilson and Faith Conroy

Cast:    Skeet Ulrich, Christian Kane, William Devane, Madelyn Deutch, Calvin Borel, Sunday Rest

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Review: ‘50 to 1’ can’t overcome its long odds

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The true-life horse-racing tale “50 to 1” takes forever to get galloping — and when it finally does, it’s too little too late.

Directed by Oscar-winning producer Jim Wilson (“Dances With Wolves”) from a script he wrote with Faith Conroy, the movie over-focuses on the people surrounding longshot Kentucky Derby winner Mine That Bird instead of making us feel something real and primal for the horse itself.

Perhaps if the folks responsible for getting the crooked-footed equine to the big show that year (2009) were more interesting, the film could have soared where it sinks. But this “misfit group of New Mexico cowboys” (and one young woman) lack depth and dimension: hapless trainer Chip Woolley (Skeet Ulrich); the gelding’s owners, Mark Allen (Christian Kane) and Leonard Blach (William Devane); and exercise rider Alex (Madelyn Deutch). The fleeting conflicts that crop up among them often feel contrived and perfunctory.

Far too much of this plodding picture is spent on odd couple Chip and Alex’s road trip transporting Mine That Bird to Kentucky. Forced atmospherics, clichéd action bits and some tone-deaf slapstick weigh things down as well.

As for the climactic race at Churchill Downs, in which Mine That Bird miraculously trumps his 50-to-1 odds to place first, the movie finally whips up some energy — but no surprise or tension.

Though a likable presence, Ulrich never seems fully comfortable in his under-heroicized role. Worse, we get little sense of Woolley’s training abilities; the character spends more time talking to his horse than putting him through the paces.

The acting throughout is, to be charitable, spotty, particularly from quite a few ill-chosen supporting players. These include Mine That Bird’s actual jockey, Calvin Borel, who plays himself here, an idea better in theory than in practice. Not unlike this entire enterprise.

------------

MPAA rating: PG-13 for some suggestive material and a bar brawl.

Running time: 1 hour, 50 minutes.

Playing: In limited release.

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Review: 50 to 1 The Movie

I love a good horse movie like the next equestrian so when I was approached about reviewing 50 to 1 , the movie about 2009 Kentucky Derby winner Mine That Bird, I was all for it!  I knew the story of Mine That Bird and how jockey Calvin Borel rode him clear up the rail to take the Kentucky Derby, but I didn’t know the back story.  This movie tells the story of trainer “Chip” Woolley and owners Mark Allen and Dr. Leonard Blach and how they acquired Mine That Bird and their journey to Churchill Downs.  Mine That Bird went into the race at 50-1 odds, an improbable Derby winner, but his story shows us to never count out the underdog.  When a horse puts his heart into something, anything is possible!  Don’t worry…I’ll be mindful of spoilers!

The movie itself may start out a bit slow but it does pick up once the horse comes into the picture.  One of my favorite things about this movie is how much personality they gave Mine That Bird (played by Sunday Rest).  If you have ever owned a Thoroughbred or been around them for long, you know they can have very big personalities.  (Look at my own Taylor…big personality, bit of a diva…love that about him).  I adored that they showcased Mine That Bird having a knack for escaping his stalls, playfully refusing to be caught, having an affinity for treats, and being “mouthy.”  His enjoyment at taking hats off people’s heads really made me smile.  This quirkiness about this horse made me become an even bigger fan of his.

I also thought they did very well with the casting.  These famous cowboys each had big personalities and big hearts of their own which the actors captured beautifully.  Skeet Ulrich played trainer Chip Woolley and Christian Kane played owner Mark Allen.  The journey to the Derby wasn’t an easy and smooth one for them as they traveled from New Mexico.  It’s not every day you see real cowboys show up for the Kentucky Derby, but I like when colorful characters attend.  It makes it more fun.  I was so excited and happy to see that Calvin Borel played himself in the film.  He did a FANTASTIC job!  He was a good sport in some of the silly scenes of him trying to get a ride for the Derby, but he was really one of my favorite parts of this film.  I think he really added to it since he lived it.  I also think it enhances the film when they use actual race footage.  It was wonderful to see some of the live action shots from the actual race included in the movie.  On a side note, one of my favorite scenes was when owner “Doc” Leonard Blach takes his wife and daughters shopping for the Derby (it looks like a Target).  They find straw hats that they purchase with the intent of making their own hats for the Kentucky Derby.  They do make them and wear them, and I thought these ladies were so cute in this scene!

In true fashion, this movie made me tear up at the end.  There is something about watching a racehorse put his heart into running that gets me every time.  It’s really a beautiful thing to watch.  This movie will make you feel good and remind you why we love horses in the first place.  Be sure to watch the making of this movie in the Special Features section for a behind the scenes look.  50 to 1 is now available for purchase on DVD.

We are also giving away 5 copies of this movie to celebrate its release so be sure to enter here .  Giveaway ends 5/8/2015.  Visit the official movie website here .

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50 to 1 streaming: where to watch online?

Currently you are able to watch "50 to 1" streaming on fuboTV. It is also possible to buy "50 to 1" on Apple TV, Amazon Video, Google Play Movies, YouTube, Microsoft Store, Vudu as download or rent it on Amazon Video, Google Play Movies, YouTube, Apple TV, Vudu, Microsoft Store online.

Where does 50 to 1 rank today? The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

Streaming charts last updated: 1:17:27 PM, 05/15/2024

50 to 1 is 25950 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 26765 places since yesterday. In the United States, it is currently more popular than Bitter Rice but less popular than Gilles' Wife.

A misfit group of New Mexico cowboys find themselves on the journey of a lifetime when they learn their crooked-footed racehorse qualifies to run in the Kentucky Derby. Based on the true story of Mine That Bird, the cowboys must overcome impossible odds even before they reach Churchill Downs and the land of Kentucky's blue bloods.

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Streaming Charts The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

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A misfit group of New Mexico cowboys find themselves on the journey of a lifetime when their crooked-footed racehorse qualifies for the Kentucky Derby. Based on the inspiring true story of horse racing legend Mine That Bird, the cowboys face a series of mishaps on their way to Churchill Downs, becoming the ultimate underdogs in a final showdown with the world’s racing elite. Directed by Oscar®-winning producer of Dances with Wolves Jim Wilson (Best Picture, 1990).

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"Friendship and Faith Overcome Obstacles"

What You Need To Know:

(Pa, BB, CC, LLL, V, S, AA, M) Light pagan, mixed worldview with pagan content, moral content, and overt Christian content, which includes man crosses himself before a big race, man points to Heaven, man honors his late parents, and faith and friendship overcome obstacles; 34 obscenities (an equal number or so of “h,” “s,” “d,” and a** words), two strong profanities mentioning Jesus, and eight light profanities (such as OMG); bar fight with punching and kicking and men hit with chairs, vehicles almost crash, and man suffers broken leg from motorcycle crash and is painfully on crutches the rest of the movie; brief sexual connotations because one character seems to be a ladies man, woman sits on man’s lap, man can’t remember one woman’s name at a small party, woman makes eyes at man at another party; no nudity; alcohol use and drunkenness; no smoking or drugs; and, poker gambling, mostly implied racehorse gambling, and cowboy horse trainer dismisses female exercise rider, apparently because she’s a woman, so they have some conflict.

More Detail:

50 TO 1 is a sports drama about the cowboy who trained a longshot horse in the 2009 Kentucky Derby. The movie meanders a bit in the beginning and middle, but has a big finish. Caution is warranted for some foul language, drinking and innuendo.

The movie opens in 1998. A cowboy named Chip Woolley comes to the aid of another cowboy, Mark Allen, who’s being pummeled by three other guys in a bar. The two rodeo riders go their separate ways, with Mark saying he’s going to Alaska with his father to work in the oil fields.

Ten years later, Chip is training racehorses with his older brother, Bill. Their company, however, is facing bankruptcy, with a stack of unpaid bills higher than their prospects. Chip hears that Mark is back in town and runs a quarter-horse training facility nearby. During a night of partying, Mark offers Chip a job training horses. His first job is to go up to Canada to take a look at a thoroughbred horse named Mine That Bird.

In Canada, Chip is amazed at the horse’s speed. With help from a business partner, a longtime veterinarian named Doc, Mark buys the horse. However, the jockeys they pick can’t seem to capitalize on Mine That Bird’s innate talent. So, they lose race after race, and Mark begins to doubt Chip’s training abilities.

Suddenly, Mark gets word that Mine That Bird’s winning performances in Canada qualify it for the 2009 Kentucky Derby. Partly as a lark, he and Doc decide to take a chance and enter the horse. Against Doc’s better judgment, Mark decides to keep his friend Chip as the trainer, though Chip doesn’t get along with the young female exercise rider, Alex.

With Chip’s career on the line, the Derby becomes his last chance at success. However, things don’t look good when Chip encounters more obstacles getting Mine That Bird to the Derby in Louisville. Only a miracle can save the day.

50 TO 1 is a story about friendship and persistence. After a strong opening, the movie meanders a bit. Despite its speed, the horse in question turns out to have a quirky nature, but the movie relegates the horse to the sidelines in the middle. Also, the conflict between Chip and the female rider takes focus away from Chip’s friendship with Mark. Things come back into focus at the end, when the two cowboys, the vet, the female rider, and their horse become the laughing stock of the horseracing elitists at the Derby. The team finds their miracle man in jockey Calvin Borel, the 2007 Derby winner who suddenly found himself without a horse. Calvin, who plays himself in the movie in an appealing performance, guides Mine That Bird on the inside rail to accomplish one of the most memorable finishes in Derby history.

50 TO 1 has a moral center to it in that Mark sticks by his friend, Chip, despite the obstacles Chip encounters. Also, when Calvin joins the team as the jockey, the movie shows that Calvin’s committed to his Catholic faith in God and Jesus before the race. Calvin also honors his late parents before and after the race. Finally, Mark prays to God at the Derby that God lets their horse not embarrass them and at least finish in the Top 10. Calvin’s faith and Mark’s prayer are answered in a truly amazing way.

Despite this positive content, there’s plenty of drinking in 50 TO 1. In one sequence, Chip gets inebriated and wins a bunch of money at a poker game. However, his winnings aren’t enough to save his ranch. Also, Mark is shown to be a ladies man in two scenes. In one scene, he forgets the name of a girl at a party. In another scene, he’s enticed by another girl at another party. 50 TO 1 also has an excessive amount of PG-13 language.

All in all, 50 TO 1 is clearly not as good or as wholesome as Disney’s SECRETARIAT movie about another famous racehorse, which was directed by Randall Wallace, the director of HEAVEN IS FOR REAL. So, although most moviegoers probably will enjoy 50 TO 1, strong or extreme caution is advised.

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50 to 1 (2014)

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“50 to 1” is about a misfit group of New Mexico cowboys who find themselves on the journey of a lifetime when their crooked-footed racehorse qualifies for the Kentucky Derby. The cowboys face a series of mishaps on their way to Churchill Downs, becoming the ultimate underdogs in a final showdown with the world’s racing elite.

50 to 1 Poster [Exclusive]

A group of New Mexico cowboys make the unlikely journey to the Kentucky Derby. This drama based on a true story hits theaters in March.

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The Movie With the Most Reviews To Get 100% on Rotten Tomatoes

• Rotten Tomatoes scores can oversimplify film criticism; there's more to a good review than "rotten" or "fresh."
• Rotten Tomatoes does bring attention to overlooked films like Leave No Trace .
• Leave No Trace explores the challenges of assimilation and the freedom of choice in a moving and authentic way.

While film criticism aggregators like Rotten Tomatoes are useful in helping to determine the broad critical consensus that a film received, simplifying the response to a film into a score is not necessarily a useful form of engaging with art. Rotten Tomatoes works like a binary , and in actuality, there’s much more to a good review than whether a film is simply “rotten” or “fresh.” Metrics like Rotten Tomatoes may claim to “democratize” the art of criticism, but they’re largely useless for those looking for more nuanced opinions. However, overwhelming critical support from an aggregator like Rotten Tomatoes can shed a spotlight on films that would not have otherwise received as much attention from a mainstream audience. Debra Granik ’s 2018 family drama Leave No Trace may have been a film that many slept on while it was in theaters, but its 100% approval rating on Rotten Tomatoes should hopefully encourage a wider audience to check it out .

Leave No Trace

A father and his seventeen-year-old daughter are living an ideal existence in a vast urban park in Portland, Oregon when a small mistake derails their lives forever.

Release Date June 29, 2018

Director Debra Granik

Cast Peter Simpson, Derek John Drescher, Michael Draper, Jeffery Rifflard, Thomasin McKenzie, Ben Foster

Runtime 109 minutes

Main Genre Drama

Writers Peter Rock, Anne Rosellini, Debra Granik

What Happens in 'Leave No Trace'?

Leave No Trace is Granik’s follow up to her breakthrough 2010 drama Winter’s Bone starring Jennifer Lawrence . Winter’s Bone was a grounded thriller that depicted both familial relationships and its natural environments with great detail. While Winter’s Bone could loosely be described as a “genre film,” Leave No Trace was squarely focused on depicting an authentic, lived-in experience. The film follows Will ( Ben Foster ), a former military veteran who lives “off the grid” with his teenage daughter, Tom ( Thomasin McKenzie ). Although Will and Tom have gotten used to this nomadic lifestyle , they are forced to “assimilate” when they are discovered.

Granik does a great job at exploring her characters’ lifestyle without judgment. Living outside civil society presents its dangers. There is a lack of medical supplies and a distance from breaking news, but Tom is also removed from any social circles with children her own age . She has lived to be entirely dependent upon her father, and has never learned what constitutes normal human interaction. At the same time, Will is able to use their nomadic lifestyle in order to focus on his priorities. He knows that the infrastructure of normal society is rife with issues, and that they may cause issues in Tom’s development. This objective view of nomad living is rare to see in film, as even Nomadland offered some judgments on its characters.

Will knows firsthand that the infrastructure can fail because of his own backstory. Although Granik never gives Foster an expositional monologue where he explains his entire life, it’s subtly hinted that he’s dealing with post-traumatic stress disorder from his experiences in combat. Although Will is dealing with his trauma in the way that he sees fit, not associating with anyone else isn’t necessarily a healthy way to cope with his struggles. Granik explores the flawed, yet understandable logic in his thinking. Will mistakes “needing help” for moral weakness, and feels that receiving assistance from therapists is a mistake. Will’s unwillingness to ask for help isn’t because of toxic masculinity; he wants his daughter to perceive him as authoritative so that he can offer her a blanket of safety.

'Leave No Trace Tries To Show, Not Tell

Granik does a great job at showing how challenging the assimilation process can be. Will and Tom are discovered by a jogger, and must adjust to a new life in rural Oregon. Will and Tom subvert the expectations that the social services officers have about “nomads.” Tom possesses an academic knowledge that rivals anyone her own age that attended school, and Will has taken care of himself remarkably well. Granik chooses not to demonize either Will or the social service officers that try to get him to adjust his lifestyle. Both parties are simply trying to find a solution to this situation that is healthy and legal for everyone involved. Foster shows how reluctant Will is to change a lifestyle that he felt was working for both him and his daughter, giving one of his best performances in the process.

While it never feels like they are in physical danger, Will has not accepted that he will have to introduce Tom to the rest of the world. Granik crafts a beautiful father-daughter story because the film is just as much about Will’s development as it is about Tom coming of age . Tom begins to find joy when she gets to meet other people and hear about their experiences; she has only ever been close with her father, so learning about someone else is a breath of fresh air. The film doesn’t suggest that Will’s teachings had a negative impact on her, but it does show the value in having a diversity of experience.

Rotten Tomatoes' Score Display on Google Has Changed What Does This Mean? [Updated]

The grounded realism of leave no trace helps it feel authentic.

However, the assimilation process is much different for Will because he has seen what living a non-nomadic life could look like. Tom has never known anything other than what her father told her, so her perception is more limited. Will specifically chose to live his life nomadically because of his inability to engage with other people. In its most heartbreaking sequence , Leave No Trace shows why the two characters have to split up. Will has chosen to remain isolated, but Tom still has the opportunity to make that decision. Will realizes that in order to give her the freedom to make that choice, he will have to leave her behind. Leave No Trace doesn’t turn this moment into a manipulative one that exists purely to pull the audience’s heartstrings. It was evident from the beginning of the story that, inevitably, Tom would have to move on.

While Leave No Trace landed with little impact upon its debut, it’s the type of film that is worthy of a critical rediscovery. Granik’s unflashy style may not have seemed exciting to casual viewers, but the realism with which she crafts the story makes the characters’ experiences feel more authentic . The story is a timeless one, and the film is able to analyze a specific experience with empathy. Although it may be best known as McKenzie’s breakout film , Leave No Trace ’s 100% approval rating couldn’t be more deserving.

Leave No Trace is available to stream on Starz in the U.S.

Watch on Starz

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First reactions for The Strangers reboot with Riverdale star

"Will have viewers on the edge of their seat and begging for more."

The new movie, which also stars Cruel Summer 's Froy Gutierrez, is a remake of the 2008 movie of the same name, and focuses on a young couple who stay in a secluded Airbnb when their car breaks down, before horror strikes.

Following its world premiere, The Strangers: Chapter 1 has received largely mixed reviews from critics on social media, with reactions ranging from "terrifying" to "missing the mark".

Related: Furiosa gets rave first reactions ahead of release

" The Strangers: Chapter 1 is a suspenseful & intense thriller that will have viewers on the edge of their seat & begging for more," Mama's Geeky 's Tessa Smith wrote on X (formerly Twitter). "The cliffhanger ending is brutal & might leave some feeling unsatisfied. Stay for the mid-credit scene for a taste of what's next!"

" The Strangers: Chapter 1 is a stellar addition to the legacy!" added That Hashtag Show . "It brilliantly pays homage to the original while carving its own path. Finally, a spine-chilling horror film worth the wait this year!"

In a more mixed verdict, Raven Brunner called the movie "a downright terrifying gorefest", adding: "While it sadly lacks the indie charm of the original, that’ll be the least of your worries once the bloodshed starts. Meh characters but interesting direction and plenty of mindless violence. Great time! We’re so back, baby!"

Related: Kingdom of the Planet of the Apes first reactions land ahead of cinema release

However, Nightmarish Conjurings ' Shannon McGrew was less enthusiastic, suggesting The Strangers "completely misses the mark".

"It lacks the dread, suspense, and realism that made the first film so terrifying in favor of cheap jump scares and pretty people," they added. "This is def a film that’s more veered to the CW crowd."

Dread Central 's Mary Beth McAndrews was also unimpressed, writing : "Sadly, The Strangers - Chapter 1 is a no for me. It relies too heavily on the past and well-worn tropes to construct a shallow story that barely touches the terror of the original. There are some cool scares and set pieces, but ultimately it leaves me simply asking why?"

The Strangers: Chapter 1 will act as the first part of a trilogy which has already been filmed, with Renny Harlin directing all three movies from a script by Alan R Cohen and Alan Freedland.

The Strangers: Chapter 1 is released in cinemas on May 17.

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Sam is a freelance reporter and sub-editor who has a particular interest in movies , TV and music. After completing a journalism Masters at City University, London, Sam joined Digital Spy as a reporter, and has also freelanced for publications such as NME and Screen International .  Sam, who also has a degree in Film, can wax lyrical about everything from Lord of the Rings to Love Is Blind , and is equally in his element crossing every 't' and dotting every 'i' as a sub-editor.

.css-15yqwdi:before{top:0;width:100%;height:0.25rem;content:'';position:absolute;background-image:linear-gradient(to right,#51B3E0,#51B3E0 2.5rem,#E5ADAE 2.5rem,#E5ADAE 5rem,#E5E54F 5rem,#E5E54F 7.5rem,black 7.5rem,black);} Riverdale

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The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time.

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• 49 Metascore

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• Trivia Marisa Abela had done most of the singing in this film herself. She trained extensively to mimic Amy Winehouse 's vocals.

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• Runtime 2 hours 2 minutes

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