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This is the first time Clint Eastwood has been in a film not directed by himself in 20 years.

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Looking at his incentive to take on the role, it could be that director Robert Lorenz is Eastwood’s longtime producing partner but it is also likely because the part has his name written all over it.

In Trouble with the Curve, Eastwood plays his fail-safe character – a reluctant moody old guy who is at war with the world.

In this case it is Gus Lobel, an aging baseball scout whose job is on the line as old talents and new changes in the business clash.

As his eyesight worsens, he won’t accept defeat and heads out on an assignment to scout a new prospect, but he is followed by his concerned daughter Mickey (Amy Adams), a 33-year-old high-flying lawyer whose puts her ambitions on becoming an associate at her firm on hold to keep an eye on her dad.

Despite his reluctance to accept her help, his sight fails him and she steps in, and as the days pass their troubled relationship gets patched up.

On the way they meet Johnny (Justin Timberlake) who knows Gus from the past and takes a liking to Mickey.

Adams plays the hard, career woman well but the role relies on the easy stereotype of a woman brought up surrounded by men.

She knows all there is to baseball – to the utter amazement of Johnny - and can drink any man under the table.

When she pockets a game of snooker in one go and all the men in the bar look start rubbing their eyes in disbelief, it’s a little cringe-worthy.

But between the characters there is an easy interaction between Eastwood and Adams, and Justin Timberlake slots in nicely to make the trio.

The plot doesn’t throw up any unforeseen twists, but it is warm and enjoyable.

I wonder what it would be like without the orchestral music hamming up every scene to its crescendo - it could have been quite raw, but it keeps to its Hollywood aesthetic.

It doesn’t wow, but it offers some satisfaction and Eastwood fans won’t be disappointed.

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