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The Replacements
It's a strange and comedic story that takes place in the United States. This story tells about the strike of American football players Washington Sentinels in the professional football derby in 1987 because of certain demands. There must be a radical solution for coach Jack Hackman and owner Jack Warden. Within one week, a team was assembled to play a substitute for the team that made the strike. Jack Hackman is the manager of the team, Jack Warden is the owner, Bret Cullen is the midfielder and Keanu Reeves, who played the star of the team.
7 February 1970, Washington, District of Columbia, USA
13 June 1972, Passaic, New Jersey, USA
15 November 1968, Brooklyn, New York City, New York, USA
19 October 1966, Queens, New York City, New York, USA
17 March 1971, Baltimore, Maryland, USA
8 March 1973, San Miguel, El Salvador
6 July 1971, Great Lakes, Illinois, USA
June 24, 2011
average lighthearted entertainment ... to be queued up more than normal in the coming months with a potential NFL lockout and strike looming
March 20, 2003
At least the ending doesn't cop out. There is no big happy ending where everyone gets a pro football gig or a big Nike ad campaign.
January 01, 2000
Plenty of red meat here but also so much script rot that both ought to be recalled by the FDA.
August 22, 2002
The Replacements is a bad movie, but a likable one.
September 25, 2015
There isn't a football cliche "The Replacements" doesn't tackle, but its all-star cast and easygoing approach make it one of the more enjoyable recent sports comedies.
November 07, 2002
Football flick has a great lineup, but fumbles the ball.
January 01, 2000
A haphazard film about half as sophisticated as the average beer commercial.
December 29, 2010
Lightweight but likeable football story.
January 01, 2000
A soggy comedy.
January 01, 2000
A field goal, not a touchdown.
January 01, 2000
This negligible comedy might as well come with a bouncing ball so members of the audience can recite the dialogue along with the actors.
January 01, 2000
The Replacements, as with just about everything else coming out of Hollywood, merely reconfigures the same predictable gross-out jokes, sentimental platitudes, and decorative sex that figure into half the screenplays in circulation.