While the dialog is clever and the acting is up to par, the mix of sports and romance ultimately falls flat. The legitimizing of football in the 1920's is the main plot point, with Clooney's Dodge Connelly attempting to popularize it through recruiting war hero turned college football phenomenon, Carter Rutherford, played by Krasinski.
The plot thickens when an officer who fought alongside Rutherford claims that the golden-boy's actions during the war are less than heroic.
Zellweger's ambitious Lexie Littleton doggedly pursues the truth behind the tall tales, all the while being pursued by the meant-to-be charming football has-been Connelly and the bright eyed Rutherford, who's reputation she is meant to dismantle. While Zellwegger looks the part of a '20's bombshell, Littleton is little more than an instigating character meant to stir up rivalry and trouble.
Though Littleton and Connelly's repartee is meant to mirror that of classic characters, she remains a shadow of prior female protagonists and never comes fully into her own. Her wavering affections for Rutherford and Connelly do not fit into the classic feminine archetype she was meant to embody.
While Clooney's smooth-talking Connelly was written with the intent of being charming, his actions oftentimes appear more arrogant than anything else. He is an unabashed trickster both on and off the field, but instead of coming off as an artful beguiler, he instead appears dishonest and at times unworthy.
Krasinski's Rutherford is by far the most charming and likable character in the film; his aw-shucks demeanor is disarmingly enchanting.
While Rutherford was built up as a rival for the aging Connelly, it is difficult to perceive in what way they are meant to compete with each other. He is stuck in a lie that snowballed into epic proportions, and his naiveté shows when he is genuinely wounded by Littleton's betrayal.
The remotely villainous CC Frazier, played by Jonathan Pryce, is an amusing feature of the film. His immoral approach to business and his eager desire to take advantage of the talent of others, namely Rutherford, shows a different and less promising side to the professionalizing of football.
While the conflict between Rutherford and Connelly appears somewhat stilted, the banter between the two is unequaled throughout the film. Most of the truly funny moments are between the two, honoring slapstick bits made famous in early cinema.
Randy Newman's swinging score is jazzy and jaunty, adding light excitement and highlights the screwiest scenes.
The Mention, and the ignoring of, prohibition also added legitimacy to the film, leading to an entertaining old-fashioned police chase involving Littleton and Connelly.
The football scenes were initially exciting, with Connelly's dupes and playing dirty rallying the spirit of football and Rutherford's clean and direct approach offering an interesting parallel. However, the final game is rather anticlimactic.
What was meant to be the pivotal scene in the football game was dissatisfying and confusing, using old suspense-building clichés to mount a weak scene. The final game was meant to be dull in order to put across Connelly's assertion that the rules of football ruin the game, but nonetheless it results in disappointment.
The costume designs, including the old-fashioned football uniforms and Littleton's various old time dresses make one feel as if they are taking a look back into the past, as does the beautiful cinematography.
"Leatherheads," is entertaining and fun, but its attempt to emulate the past genre ends up ultimately dissatisfying.
The plot thickens when an officer who fought alongside Rutherford claims that the golden-boy's actions during the war are less than heroic.
Zellweger's ambitious Lexie Littleton doggedly pursues the truth behind the tall tales, all the while being pursued by the meant-to-be charming football has-been Connelly and the bright eyed Rutherford, who's reputation she is meant to dismantle. While Zellwegger looks the part of a '20's bombshell, Littleton is little more than an instigating character meant to stir up rivalry and trouble.
Though Littleton and Connelly's repartee is meant to mirror that of classic characters, she remains a shadow of prior female protagonists and never comes fully into her own. Her wavering affections for Rutherford and Connelly do not fit into the classic feminine archetype she was meant to embody.
While Clooney's smooth-talking Connelly was written with the intent of being charming, his actions oftentimes appear more arrogant than anything else. He is an unabashed trickster both on and off the field, but instead of coming off as an artful beguiler, he instead appears dishonest and at times unworthy.
Krasinski's Rutherford is by far the most charming and likable character in the film; his aw-shucks demeanor is disarmingly enchanting.
While Rutherford was built up as a rival for the aging Connelly, it is difficult to perceive in what way they are meant to compete with each other. He is stuck in a lie that snowballed into epic proportions, and his naiveté shows when he is genuinely wounded by Littleton's betrayal.
The remotely villainous CC Frazier, played by Jonathan Pryce, is an amusing feature of the film. His immoral approach to business and his eager desire to take advantage of the talent of others, namely Rutherford, shows a different and less promising side to the professionalizing of football.
While the conflict between Rutherford and Connelly appears somewhat stilted, the banter between the two is unequaled throughout the film. Most of the truly funny moments are between the two, honoring slapstick bits made famous in early cinema.
Randy Newman's swinging score is jazzy and jaunty, adding light excitement and highlights the screwiest scenes.
The Mention, and the ignoring of, prohibition also added legitimacy to the film, leading to an entertaining old-fashioned police chase involving Littleton and Connelly.
The football scenes were initially exciting, with Connelly's dupes and playing dirty rallying the spirit of football and Rutherford's clean and direct approach offering an interesting parallel. However, the final game is rather anticlimactic.
What was meant to be the pivotal scene in the football game was dissatisfying and confusing, using old suspense-building clichés to mount a weak scene. The final game was meant to be dull in order to put across Connelly's assertion that the rules of football ruin the game, but nonetheless it results in disappointment.
The costume designs, including the old-fashioned football uniforms and Littleton's various old time dresses make one feel as if they are taking a look back into the past, as does the beautiful cinematography.
"Leatherheads," is entertaining and fun, but its attempt to emulate the past genre ends up ultimately dissatisfying.