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Call of Duty: WWII
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This article is about the 2017 video game. For other Call of Duty titles set in World War II, see Call of Duty § World War II games.
Call of Duty: WWII
Developer(s)
Sledgehammer Games
Publisher(s)
Activision
Director(s)
Glen Schofield
Michael Condrey
Composer(s)
Wilbert Roget II[1]
Series
Call of Duty
Platform(s)
Microsoft Windows
PlayStation 4
Xbox One
Release
WW: November 3, 2017
Genre(s)
First-person shooter
Mode(s)
Single-player, multiplayer
Call of Duty: WWII is a first-person shooter video game developed by Sledgehammer Games and published by Activision. It is the fourteenth main installment in the Call of Duty series and was released worldwide on November 3, 2017 for Microsoft Windows, PlayStation 4 and Xbox One. It is the first title in the series to be set primarily during World War II since Call of Duty: World at War in 2008.[2] The game is set in the European theatre, and is centered around a squad in the 1st Infantry Division, following their battles on the Western Front, and set mainly in the historical events of Operation Overlord; the multiplayer expands to different fronts not seen in the campaign.
Upon release, the game received generally positive reviews from critics, with many appreciating the return to the franchise's World War II roots. Praise was given towards its story, the combat support of squad members and return of the health bar in single-player, visuals, Zombies mode, and multiplayer. However, it was criticized for the single-player's lack of innovation and similarity to past games set in the same era.
Contents
[hide]
1 Gameplay
1.1 Campaign
1.2 Multiplayer
1.3 Nazi Zombies
2 Plot
2.1 Campaign
2.2 Nazi Zombies
3 Development
4 Release
5 Reception
5.1 Sales
5.2 Accolades
6 References
7 External links
Gameplay
Similar to its predecessors, Call of Duty: WWII is a first-person shooter game but it removes the advanced system of movement present in the two previous Call of Duty titles, which included double jumping and wall running. Instead, it features a return of traditional movement to the series, taking it back to a "boots on the ground" gameplay style. The game does not feature an unlimited sprint mechanic, seen in the previous two titles.[3] Instead of a "slide" movement mechanic, which allowed players to slide quickly on the ground, WWII features a "hit-the-deck" mechanic that allows the player to leap forward and throw themselves on the ground in order to get to cover quickly, similarly to a previous mechanic known as "dolphin dive" in Treyarch's Call of Duty: Black Ops and Call of Duty: Black Ops II.[4]
Campaign
WWII is the first title since the original game and Call of Duty 2: Big Red One not to feature health regeneration in the campaign. Instead, players must find health packs scattered throughout levels, or rely on their medic squadmate to provide health packs. Other members of the player's squad can provide ammunition, grenades, call in mortar strikes, or spot enemies and reveal their position in form of silhouettes.[5] In certain sections of the game, enemy soldiers in the campaign can be captured, and wounded allies can be dragged to cover. In some parts of the campaign, players are able to control vehicles.[6]
Multiplayer
The multiplayer mode for Call of Duty: WWII was revealed on E3 2017, which took place from June 13–15.[7] Sledgehammer Games announced features such as the new headquarters social space, divisions, war mode and the return to "boots-on-the-ground" gameplay. Players who pre-order the game were invited to a closed beta, which was released initially for the PlayStation 4, but later was released on other platforms.[8]
In online multiplayer matches, players are randomly assigned either to Allies or Axis side. On Allies side, players can play as soldiers in American, British, Soviet, French Resistance armies. On the Axis side, players play as the Wehrmacht, rather than Waffen-SS in an effort to avoid 'glorifying' Nazi extremists. When explaining this decision, Glen Schofield, co-founder and co-studio head at Sledgehammer, said "The big distinction that Germans still make today is that between the German military and the Nazis. We made sure we made that distinction in the game, that the Germans were doing their duty".[9]
Instead of the usual create-a-class system, WWII features Divisions. Players can choose one out of five divisions, each with their own different basic combat training, division training and weapon skills. This also eliminates perks, as players need to progress through ranks in divisions in order to use additional skills. The divisions featured in the game are:
Infantry: The most versatile division in the game, it is equipped for mid to long range combat. The special skill of this division is the bayonet charge, which can lead to brutal melee combat.
Airborne: This division makes players move fast while remaining quiet. Players in this division can attach suppressors to sub-machine guns at any time during combat which allows for more stealth based gameplay style.
Armored: This division has the heaviest firepower, being able to mount machine guns while taking less fire and explosive damage.
Mountain: This division focuses on long range combat, making sniper rifles more precise with aim assist and improving the aim through scope by blocking out surroundings from player's view.
Expeditionary: Shotguns used by players in this division have incendiary rounds that burn enemies to death.
Resistance: Added in January as part of an update, this division allows players to use tactical knife in combination with their pistol, focusing on stealthy close-quarter combat.
WWII also features Headquarters mode, which acts as a social space in the game. The hub is set on the Omaha Beach in Normandy, three days after the invasion when Allies retake the beach and turn it into a base. 48 players can be in the Headquarters at a time, and take part in various activities. For example, players can watch other players open loot boxes while in the Headquarters.[10] There is a firing range in the hub, where all players can practise their shooting skills with all weapons, as well as a field where they can test scorestreaks. There are also areas where players can engage in "1v1" fights, as other players watch the duels.[11]
The end-game "killcam" highlight shown at the end of multiplayer matches has been changed to "Bronze Star", which show kills "deemed most impressive" (counted by most points gained in a row), similar to Overwatch.[12] The exception to this is the Search & Destroy game mode, which does not use Bronze Star killcam. Search & Destroy uses a final killcam, showing the last kill in the round.[13]
A new game mode, War, is introduced as a "narrative-driven" multiplayer game mode, developed in partnership with Raven Software. In War, two teams of 6 players perform objectives as either the Allied or Axis faction, inspired by some of the iconic World War II battles, such as storming Normandy on D-Day as the Allied, or defending the Normandy bunker as the Axis in the map Operation Neptune. In addition to War, popular game modes such as Team Deathmatch, Domination and Hardpoint return, as well as Gridiron, a "boots on the ground" variation of Uplink, which was originally introduced by Sledgehammer Games in Call of Duty: Advanced Warfare.
Nazi Zombies
WWII includes a zombies cooperative game mode, similar to previous entries by Treyarch and Infinity Ward, with its own original storyline set in alternate history and separate from the campaign. The game mode, dubbed Nazi Zombies in reference to its first iteration in Treyarch's Call of Duty: World at War, is also set in the events of World War II, as the Third Reich makes a desperate attempt to turn the tide of the war by creating an undead army in the final stages of the war. While the mode is based on science-fiction and is a fictional take on the war, Sledgehammer Games co-founder Michael Condrey said that the story of the mode is based on some "real events". He also revealed that the experience is similar to Dead Space, a third person shooter horror video game directed by both Condrey and Schofield during their work time at EA Redwood Shores.[14]
In regards to gameplay, Nazi Zombies retains the wave-based survival formula that have been used in all previous Zombies entries, with brand new additions. A class system is introduced, where players can opt for one of four combat roles: Offense, Control, Medic and Support, which provide different in-game abilities. Class loadouts are also included, with equippable Raven Mods, which are perks similar to the multiplayer mode. Sledgehammer Games also attempted to rationalize some of the popular mechanics, such as weapon wallbuys and currencies, with realistic explanation that fit within the lore of the game mode. Nazi Zombies includes a hint system, where portions of the main story quest are given directional hints for players to find and progress. In regards to the story quest, Sledgehammer's creative director Cameron Dayton reveals that there is a "casual path" for new and casual players where they can progress with the story, while a "hardcore" path, which is considered the official canon, exists with hidden objectives, and expands more on the story beyond what the casual path contains.[15]
Plot
Campaign
On June 6, 1944, U.S. Army Private First Class Ronald "Red" Daniels (Brett Zimmerman) of the 1st Infantry Division takes part in the Normandy landings with his platoon, consisting of Private First Class Robert Zussman (Jonathan Tucker), Private Drew Stiles (Kevin Coubal), Technician Fifth Grade Frank Aiello (Jeff Schine), Technical Sergeant William Pierson (Josh Duhamel) and First Lieutenant Joseph Turner (Jeffrey Pierce). Zussman is stabbed by a German soldier, resulting in his hospitalization for several weeks.
Zussman returns to duty in time for Operation Cobra, where American forces successfully push to reclaim the town of Marigny. The platoon is ordered by Colonel Davis (Matt Riedy) to conduct an operation with British Special Operations Executive officers Major Arthur Crowley (David Alpay) and Vivian (Helen Sadler) to intercept a German armored train carrying V2-rockets. Daniels and Zussman successfully derail the train before being escorted back to their squad by French Resistance leader Rousseau (Bella Dayne).
A week later, Rousseau and Crowley infiltrate a German garrison in Paris to retrieve explosives in preparation for the platoon's assault upon it. Midway through, Rousseau kills SS-und Polizeiführer Heinrich (J. Paul Boehmer) in retaliation for his murder of her family. The platoon then liberates Paris.
Two months later, the platoon enters Aachen, and is saved from a German attack by support from tank commander Staff Sergeant Augustine Pérez (Christian Lanz). They are then ordered to take over a German-occupied hotel. They discover civilians inside the hotel, and Turner orders their evacuation, to Pierson's dismay. A young girl named Anna (Lilith Max) goes missing, and Daniels rescues her. German soldiers open fire on a truck carrying the civilians, killing Anna's older sister. Pierson sends the truck away without protection, creating a rift with Turner.
At the Battle of Hürtgen Forest, the platoon is ordered to take Hill 493. Turner splits the platoon into two groups; Pierson and Zussman are tasked with advancing towards the hill, while Turner and Daniels cover them until they can meet at the bottom. Turner's squad soon receives a transmission revealing that Pierson ordered an attack on the hill against Turner's orders, forcing Turner to join in. The platoon destroys artillery positions, but the Germans counterattack with a Tiger II tank. Daniels is knocked out trying to disable the tank, which is destroyed by Pérez. Turner is fatally wounded rescuing Daniels, and orders Daniels to abandon him while he covers the platoon's escape. Pierson becomes head of the platoon and makes Daniels his second-in-command, promoting him to Corporal.
At the height of the Battle of the Bulge, the platoon is surrounded by Germans. Daniels meets an African-American technician, Howard (Russell Richardson), who helps the platoon contact air support. The platoon captures several German soldiers, and discovers that the Germans plan to destroy a bridge at Remagen, the last bridge over the Rhine. After destroying the explosives in transit, Pierson orders the platoon to attack a nearby air base to destroy the remaining explosives. The attack fails, resulting in Daniels and Zussman being surrounded by enemy troops. Daniels is saved by Howard, while Zussman is captured and taken to a German prisoner of war camp, Stalag IX-B. Daniels disobeys Pierson and attempts to pursue the German truck carrying Zussman, but ends up injuring himself in the process and letting the truck escape. He is then hospitalized, with Pierson denying him from the platoon. In Stalag IX-B, Zussman is interrogated on his Jewish heritage by SS officer Metz (George Regout), then is beaten and sent to a concentration camp.
After recovering for eight weeks, Daniels learns from Davis about the events that changed Pierson in the Battle of Kasserine Pass: instead of recklessly leading his men to their deaths, like everyone thought, he risked his and his men's lives in vain to save part of his platoon that was trapped. Daniels later confronts Pierson in his tent and tears up his honorable discharge papers in order to rejoin the platoon. They successfully capture the last bridge over the Rhine. The platoon heads into Germany, liberating concentration camps in search of Zussman, eventually reaching the Berga concentration camp, which they find abandoned; the camp's survivors were sent on a death march. Daniels finds and saves Zussman by killing Metz before he can execute him.
At the end of the war, Daniels parts ways with his platoon and returns to Texas, reuniting with his wife and newborn son. He visits the grave of his older brother, Paul (Chris Browning), who died while fighting a wolf when Red failed to shoot it in time. He places his Bronze Star medal on the grave, saying that his brother deserves it for teaching him how to fight for himself and for his brothers.
Nazi Zombies
Austrian engineer Marie Fischer (Katheryn Winnick) is sent on a mission to her hometown village of Mittelburg, Bavaria by her commanding officer, Major Rideau (Darin De Paul), to retrieve lost artifacts stolen by the Nazis for experimentation, as well as rescue her brother, Klaus, who provided the information. Klaus has been unwillingly working with their lead scientist Peter Straub (Udo Kier) and weapons expert Colonel Heinz Richter (Tomm Voss) on a project to exploit a new energy dubbed "Geistkraft" (literally translates as: ‘Spiritforce’) to assist the Nazi party's war efforts. Marie is accompanied by Scottish ex-art thief Drostan Hynd (David Tennant), Art Historian turned French Resistance fighter Olivia Durant (Élodie Yung) and United States Army captain Jefferson Potts (Ving Rhames), all of whom have significant knowledge on the stolen arts and relics. However, on their train ride to Mittelburg, the group is attacked by an unidentified colossal being. Marie is stranded from the others, and finds herself taking temporary refuge at a small house nearby, where she holds out against hordes of dead German soldiers reanimated by Geistkraft, until she is able to make her way to the village.
After reuniting with the other three, Marie and the group proceed further down into the village's hidden bunker, where Straub has set up his laboratory. There, they fend off against Straub's undead horde, as well as Richter, whose obsession on weaponization of Geistkraft puts him at odds with Straub. Eventually, the group recovers the artifact, the hilt of Emperor Frederick Barbarossa's sword. They then encounter the creature from earlier, a humanoid-shaped amalgam of numerous body parts sewn and stitched together, dubbed the Panzermörder, with Klaus fused into the creature's chest. Using special magnetized batteries, the group manages to stun the Panzermörder and attach the batteries onto it, causing it to be attracted to Richter's zeppelin flying above the village. The zeppelin explodes, killing the Panzermörder and freeing Klaus from its body. The hilt's power somehow revives Klaus, causing him to be possessed by an unknown force. Klaus staggers into the village, telling Marie and the group to continue fighting, and that the Emperor must not return, before activating a fire trap, seemingly killing himself.
Development
Call of Duty: World War II is the second game in the Call of Duty franchise developed by Sledgehammer Games, and the third to benefit under publisher Activision's three-year development cycle (the first being Sledgehammer's Call of Duty: Advanced Warfare) in order for a longer development time for each game. A modern Call of Duty title set in World War II was alluded to in a 2014 Call of Duty: Advanced Warfare launch interview with Michael Condrey, co-founder of Sledgehammer Games. In the interview by Metro, the interviewer asked him what the possibilities of where the next Call of Duty could go in terms of setting. Condrey responded, "Well, no. It’s curious. I can only answer from my own personal tastes, this is my own personal opinion. But some of my favorite pieces of entertainment are set in World War II. Band of Brothers, I’m a massive fan of Band of Brothers." Condrey then dived further into the subject, "And that’s a great hero’s war, kind of the last that was recognised as a noble cause in a war. So yeah, I think a next generation game with the latest production values and robustness in a World War II setting like Band of Brothers would be amazing. Now, how would it play and how would the multiplayer work after the new movement set in Advanced Warfare? That’s a tougher question than I’ve had to tackle yet…".[16]
Sledgehammer Games was hesitant to reveal all the authentic settings from World War II that developers have put into the game's storyline. Activision initially refused to deny claims that Nazi extermination camps would be featured in the game.[9] Adam Rosenberg of Mashable wrote that video games set during World War II tended to be "Holocaust deniers" in the sense that they avoided broaching the subject for business reasons, but that this could be the very first Call of Duty World War II based game where the Holocaust would be depicted. Senior creative director Bret Robbins said in an interview "Some very, very dark things happened during this conflict and it felt wrong for us to ignore that." He further stated “We absolutely show atrocities. It’s an unfortunate part of the history, but you can’t tell an authentic, truthful story without going there. So we went there.” Robbins argued that audiences can now handle games with more maturity and nuance, “People are ready for it. They want it,” he said.[17][18] When asked directly over Twitter as to whether or not the story campaign would allow gamers the opportunity to play as soldiers from the Axis powers such as Nazi Germany and Fascist Italy, Sledgehammer Games confirmed that the campaign gameplay would be limited to allied forces. More specifically, Sledgehammer co-founder Michael Condrey confirmed that the game will focus exclusively on the Allied powers.[9]
The Windows version of the game was developed in partnership with Raven Software. In regards to it, Raven's CTO Dwight Luetscher stated that they were trying to focus on the Windows platform, as well as the community, by responding to their needs for it to excel. The Windows version features several notable changes, including removal of controller aim assist and addition of sensitivity slider for aim-down-sights mechanic.[19]
All pre-orders excluding the PC version included access to the private beta, which was made available first on the PlayStation 4 from August 25 to 28, followed by a second week for both PlayStation 4 and Xbox One from September 1 to 4. The PC beta was announced as an open beta, and ran from September 29 to October 2 on Steam. Players who participated in the beta received the Beta Combat Pack for the full game, which contains a special in-game helmet, emblem and calling card. The game is available in three editions: Base Edition, Digital Deluxe Edition and the Pro Edition. The Pro Edition was sold exclusively at GameStop, with pre-orders of the game at GameStop also included a limited edition hat.[20]
Release
The game was released worldwide on November 3, 2017 for Microsoft Windows, PlayStation 4 and Xbox One.[21]
Upon the game's release, online servers were down for most of the day, inhibiting players from playing online multiplayer, as well as some not being able to access the campaign and Nazi Zombies. Activision acknowledged the problem and announced they were working to resolve it.[22][23]
On December 19, 2017, Activision released a preview trailer for the first downloadable content pack, The Resistance, containing 3 new multiplayer maps: Anthropoid, Valkyrie, Occupation (the latter of which is a remake of Resistance from Call of Duty: Modern Warfare 3), 1 new War map: Operation Intercept, and 1 new Nazi Zombies map, The Darkest Shore. The map pack is expected to be released January 30, 2018 first on PlayStation 4, 30 days before the release on Xbox One and Steam.[24]
Reception
Reception
Aggregate score
Aggregator
Score
Metacritic 79/100 (PS4)[25]
81/100 (XONE)[26]
75/100 (PC)[27]
Review scores
Publication
Score
Destructoid 7/10[28]
EGM 8.5/10[29]
Game Informer 8.75/10[30]
Game Revolution [31]
GameSpot 9/10[32]
GamesRadar [33]
Giant Bomb [34]
IGN 8/10[35]
PC Gamer (US) 70/100[36]
Polygon 7/10[37]
Call of Duty: WWII received "generally favorable" reviews, according to review aggregator Metacritic.[27][25][26]
Miguel Concepcion of GameSpot awarded the game a 9/10, writing that the campaign was "moving" and "salutes the brotherhood that grows and strengthens on the battlefield", while praising the game's "excellent visuals and sound design".[32] Daniel Tack from Game Informer gave the game a 8.75/10, stating that he felt the campaign was the only drawback overall; despite capturing a "signature explosive feel through various adrenaline-fueled moments", he thought progression felt tedious as a result of "standard gunplay and endless killing fields." He praised the multiplayer as the "shining star of the three modes", especially enjoying the game's new War mode in terms of its variety, and highlighted the return to the traditional gameplay and range of customization options.[30]
In his 8.5/10 review for EGMNow, Nick Plasses wrote that the campaign's protagonists were "well characterized and [...] the cause for the game's most impactful conflicts". He praised the lack of regenerating health which gave the game "new levels of strategy and exploration, ultimately adding more entertainment than frustration", and that the reliance on fellow soldiers "necessitates more strategic positioning and resource management".[29] IGN's Miranda Sanchez awarded the game 8/10, saying the campaign was a "more human perspective than we've seen in recent years", with interesting and diverse characters. However, she criticized its conflicting tone, as well as several repetitive and frustrating missions. She wrote that the Zombies was the standout mode in the game, which helped strike "a rewarding balance for the diehard zombies fans [...] and those that just want to jump in and have a good time", although criticized that the experience suffered when playing with other people.[35]
Destructoid's Chris Moyse praised the game as a "satisfying experience" and the campaign as "one of the series' best in some time", but felt that "it also makes little effort to overhaul the brand as a whole, playing it incredibly safe when the opportunity for reinvention was right there for the taking."[28] Polygon's Russ Frushtick generally praised the multiplayer, calling it "strong and enjoyable", but criticized the campaign, writing that "just about every mission feels like déjà vu, as if I'd played it before in another game" and that "Changing the time period so dramatically only helps to highlight how little has changed since the franchise's total re-imagining with Call of Duty 4."[37] Jeff Gerstmann of Giant Bomb was more critical of the game as a whole, stating that "despite all of Activision's big talk about "boots on the ground" action and how this was going to be some big deal, the setting change didn't bring any new and exciting inspiration with it. This feels like the most wheel-spinning, by-the-numbers Call of Duty they've made thus far."[34]
Eurogamer ranked the game 38th on their list of the "Top 50 Games of 2017",[38] while EGMNow ranked it 20th in their list of the 25 Best Games of 2017.[39] The game was nominated for "Best Shooter", "Best Graphics", "Best Multiplayer" and "Best Spectator Game" in IGN's Best of 2017 Awards.[40][41][42][43]
Sales
The game earned over $500 million within its first three days of release.[44] On December 20, 2017, it was confirmed that the game had generated over $1 billion in revenue, making it the highest-grossing console game of the year in North America.[45] As of January 1st, 2018, Call of Duty: WWII reached 20.7 million players over all platforms, 12.1 million players on PlayStation 4, 7.8 million players on Xbox One, and 825,000 players on Steam.[46]
The PlayStation 4 version sold 168,234 copies within its first week on sale in Japan, making it the best-selling game of the week.[47]
Accolades
Year
Award
Category
Result
Ref
2017 Game Critics Awards Best Action Game Nominated [48]
Best Online Multiplayer Nominated
Golden Joystick Awards Most Wanted Game Nominated [49]
The Game Awards 2017 Best Multiplayer Nominated [50]
2018 16th Visual Effects Society Awards Outstanding Visual Effects in a Real-Time Project Pending [51]
21st Annual D.I.C.E. Awards Outstanding Achievement in Original Music Composition Pending [52]
Action Game of the Year Pending
Outstanding Achievement in Online Gameplay Pending
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Jump up ^ Makuch, Eddie (December 8, 2017). "The Game Awards 2017 Winners Headlined By Zelda: Breath Of The Wild's Game Of The Year". GameSpot. Retrieved January 16, 2018.
Jump up ^ Giardina, Carolyn (January 16, 2018). "Visual Effects Society Awards: 'Apes,' 'Blade Runner 2049' Lead Feature Nominees". The Hollywood Reporter. Retrieved January 16, 2018.
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Love & Basketball
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Love & Basketball
Theatrical release poster
Directed by
Gina Prince-Bythewood
Produced by
Andrew Z. Davis
Cynthia Guidry
Spike Lee
Jay Stern
Sam Kitt
Written by
Gina Prince-Bythewood
Starring
Omar Epps
Sanaa Lathan
Alfre Woodard
Dennis Haysbert
Music by
Terence Blanchard
Cinematography
Reynaldo Villalobos
Edited by
Terilyn A. Shropshire
Production
company
40 Acres and a Mule Filmworks
Distributed by
New Line Cinema
Release date
April 21, 2000 (2000-04-21)
Running time
124 minutes
Country
United States
Language
English
Budget
$20 million
Box office
$27 million
Love & Basketball is a 2000 American romantic drama film starring Sanaa Lathan and Omar Epps. The film tells the story of Quincy McCall (Epps) and Monica Wright (Lathan), two next-door neighbors in Los Angeles, California who are pursuing their basketball careers before eventually falling for each other. The film was produced by 40 Acres and a Mule Filmworks, and marks the directorial debut of screenwriter Gina Prince-Bythewood.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Soundtrack
5 Release
6 Reception
6.1 Reviews
6.2 Box office
7 Awards
8 References
9 External links
Plot[edit]
Monica (Sanaa Lathan) and Quincy (Omar Epps) have wanted to be professional basketball stars since they were kids. Monica wanted to play for the Los Angeles Lakers and wear Magic Johnson's number 32, and Quincy wanted to be like his father and play for the Clippers, wearing number 22. However, Monica has to work hard to establish herself, while Quincy was born with natural star potential. As the two struggle to reach their goals of playing professionally, they must also deal with their emotions for each other.
The film spans roughly thirteen years of friendship between childhood sweethearts Monica Wright and Quincy McCall. The first quarter of the story begins in 1981, when Monica (played as a youth by Kyla Pratt) and her family moved to Los Angeles in 1981 from Atlanta, Georgia, and quickly became acquainted with their new neighbors the McCalls, a wealthy family due to the success of Quincy's father Zeke, the star shooting guard for the Los Angeles Clippers. Quincy and Monica are drawn to each other instantly, sharing a love of the game: basketball. Quincy (played as a youth by Glendon Chattman) is shocked that a girl could ever love basketball as much as he did, and he is even more shocked when Monica plays so well. Although their first interaction results in Quincy angrily knocking her down during game point and accidentally scarring her face, they share their first kiss on the first day of school and end the "first quarter" of the story fighting in the grass.
The second quarter of the story begins in 1988, when both Monica and Quincy are the respective leaders of their high school teams. Scouts have taken clear notice of Quincy, who many see as one of the top prospects in the country. His popularity was not just evident on the court as he is extremely popular with the other students and could have any girl in school that he wanted, but he is still good friends and neighbors with Monica.
Monica, on the other hand, struggles with her fiery emotions on the court, which often resulted in technical fouls at critical moments of games, getting benched, and eventually pushing away many potential scouting opportunities due to her lack of control. Aside from her emotions on the court, she also struggles with the emotions she secretly still harbors for Quincy and struggles to express them as he is always surrounded by other girls. Monica also has problems with her mother Camille, who is a stay at home wife and mother. Ever since she was a little girl, Monica has been pressured by Camille to give up basketball and "act like a lady", to the point that Camille would force her to wear dresses and skirts against her will. This has continued into her high school years, with Camille still complaining that Monica is too much of a "tomboy" and needs to learn to be more feminine, which leaves Monica feeling hurt and resentful of her mother for not accepting her for who she is and refuses to embrace the domestic "housewife" work that her mother seems to enjoy so much. Through soul searching throughout the season, Monica learns to control her emotions and leads her team to the state championship game. However, both she and her team came up short leading them to a victory, leaving Monica devastated and in tears.
Later on, Monica begins to recover from the defeat with the help of her older sister, Lena, who gives her a makeover and even finds a college friend to take her to her spring dance. With nothing more than a new hair style and a dress, Monica shows up to the spring dance looking as beautiful as ever. Despite having a date of his own, Quincy notices her and immediately walks over to her to compliment her new appearance but doesn't hesitate to comment on her date. They both show jealousy towards each others' dates and part ways. Later that night, they both speak outside her window and reveal to each other how their dates didn't meet their needs. She also lets him know that she has a letter from University of Southern California (USC) and insists on him to open it. After the letter reveals that she has been accepted, he finally stated that USC was also his choice. As they move in to congratulate each other with a hug, Monica mistakes the gesture as a kiss and that leads to them finally acting on their feelings for one another by making love to each other. It was Monica's first time.
The third quarter of the story follows Quincy and Monica to their freshman year at USC in 1988-89, where they are managing themselves as athletes, students, and a couple. Again, the same problems seem to present themselves, this time on a bigger stage. While Quincy finds instant success on the court, as well as more and more female admirers, Monica struggles for playing time, being the backup to USC's senior guard, Sidra O'Neal. To make matters worse, she falls on the bad side of the head coach, Ellie Davis, both for showing off and for her lack of defense. Her relationship with Quincy becomes more and more strained as Quincy struggles to deal with the media attention surrounding his father, who is trying to convince Quincy to finish college before going pro, and a paternity suit against him from a former lover. Quincy feels betrayed by his father for lying to him and threatens to leave school for the NBA early, despite his father begging him not to sacrifice his education just to spite him. Zeke mentions that his mom was only nineteen when she was pregnant with Quincy and he wasn't ready for a family, but he stayed anyway. Monica finally earns the starting point guard spot at the end of the season. However, Quincy can't be happy for her, because he blames her for not being there for him when he was having problems with his father. Monica is hurt deeply by Quincy, leading the two of them to go their separate ways.
The fourth quarter of the story follows the characters through the early 1990s, a few years before the establishment of the WNBA. In 1993, Monica's prospects for professional basketball lie exclusively in the IWBA, the International Women's Basketball Association, while Quincy steps into the pros at home. Monica settles into her new life in Barcelona, where she struggles to cope with the everyday grind of playing overseas away from family and friends. She misses home, but can't imagine a life that didn't include basketball. (Sidra points out that their teammate at USC, Big Toni, quit the previous year and now works at a bookstore). She tries to adapt to her surroundings as a local sports celebrity and the focal point of the team's offense. She leads her team to a dominant victory in the championship game at the end of the season. Despite all of her personal success, she starts to realize that her love for basketball isn't the same as it was before.
Having left USC after his freshman season, Quincy is now in his fifth year in the pros, trying to find a role with his new team, the Los Angeles Lakers. The moment he finally finds some playing time, he injures himself landing awkwardly after a slam-dunk and tearing his ACL. His family rushes to the hospital to be with him, but his now divorced parents still have bad blood when they see each other. After Monica hears about Quincy's injury, she flies home to see him.
Monica goes to the hospital to visit Quincy, and is stunned to hear of Quincy's engagement and to meet his fiancée (Tyra Banks). After her meeting with Quincy, Monica soon realizes that her feelings for him still exist. Monica also clashes with her mother Camille again over old resentments, causing Camille to remark that she had to give up her own dreams after having children and resenting Monica for not appreciating the sacrifices she made for her family, with Monica counter-arguing that Camille never made her feel loved and accepted, because she kept trying to force her to give up her goals for a stereotypical "woman's role" in life that she didn't want. Over the next few months, Quincy undergoes rehabilitation, while the day of his wedding draws closer. By this time, Monica has decided to give up basketball and work at a bank with her dad instead. When questioned by Quincy, she states that it was no longer fun for her. However, Quincy does not understand, stating that he never knew anyone who loved basketball as much as she did. After seeing how truly unhappy her youngest daughter is without either basketball or Quincy (or both) in her life, Camille finally relents and encourages Monica to fight for her dreams and the man she loves. Quincy and Monica meet up, this time as friends, and reminisce over their shared past. At this point, Quincy has recovered from his injury, and Monica finally steps up with an ultimatum. She challenges him to one final game on the court, but this time, the stakes are higher: if he loses, he calls off the wedding and chooses Monica; if not, he marries his fiancée. Her reasoning is that if he loses, it would be, because he let her win, which would mean that, deep down, he really doesn't want to get married, because he still loves her. Quincy agrees and beats her in the game, but can no longer be apart from Monica and chooses her instead. The phrase "double or nothing" brings a whole new meaning to the game.
The film fast-forwards to five years later in 1998. Monica has finally gone pro in the WNBA, which was created two years earlier by the NBA in 1996. The movie ends with Quincy helping their baby daughter cheer on Monica during her game. The back of her jersey is seen with the name "Wright-McCall", showing that Monica and Quincy got married. In the closing post-credit scene, Quincy and Monica's toddler daughter is seen in the backyard, running and putting her basketball into her toy basketball hoop.
Cast[edit]
Sanaa Lathan (left) and Omar Epps (right) are the two main characters of the film.
Cast and crew adapted from AllRovi.[1]
Sanaa Lathan as Monica Wright
Kyla Pratt as Young Monica
Omar Epps as Quincy McCall
Glenndon Chatman as Young Quincy
Alfre Woodard as Camille Wright, Monica's mom
Dennis Haysbert as Zeke McCall, Quincy's father
Debbi Morgan as Nona McCall, Quincy's mother
Harry J. Lenix as Nathan Wright, Monica's dad
Boris Kodjoe as Jason
Gabrielle Union as Shawnee
Monica Calhoun as Kerry
Regina Hall as Lena Wright, Monica's sister
Christine Dunford as Coach Davis
Tyra Banks as Karen, Quincy's fiancé
Al Foster as Coach Hiserman
Production[edit]
From August 1999 to October 1999
This section is empty. You can help by adding to it. (January 2013)
Soundtrack[edit]
Main article: Love & Basketball (soundtrack)
Love & Basketball is the soundtrack to the film, released April 18, 2000, on Overbrook Entertainment and New Line Records.[2] Production for the album came from several recording artists, including Raphael Saadiq, Angie Stone, Zapp, and Steve "Silk" Hurley.[3] In the US, the album peaked at number 45 on the Billboard 200 and number 15 on R&B/Hip-Hop Albums.[4] Stacia Proefrock of Allmusic gave the album a three-of-five star review, saying "Songs like MeShell Ndege'ocello's 'Fool of Me' help punctuate this story of childhood friends who love each other almost as much as they love the game of basketball. Other highlights of the soundtrack include songs from MC Lyte, Al Green, and Rufus."[5]
Release[edit]
Love & Basketball was released in the United States on April 21, 2000.[6]
Reception[edit]
Reviews[edit]
Love & Basketball received generally favorable reviews from film critics.[7] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film received an average score of 70, based on 28 reviews, which indicates "generally favorable".[7] At Rotten Tomatoes, which is similar to Metacritic, the film received an aggregated score of 82%, based on 87 reviews stating, "Confident directing and acting deliver an insightful look at young athletes."[8] Film reviewer Lisa Schwarzbaum of Entertainment Weekly gave Love & Basketball an A- review.[9] She enjoyed how the film portrayed women's sports in general and says "The speed and wiliness of the game itself ensure that movies about men who shoot hoops are exciting, but the novelty of watching women bring their own physical grace to the contest is a turn-on."[9] Schwarzbaum also appreciated Prince-Bythewood's directing skills, claiming "[She] is also vigilant and honest about the hard sacrifices made in pursuit of sexual equality. And for that, she scores big in her first pro game."[9]
Rachel Deahl of AllRovi gave the film 3.5 out of 5 stars. In her review she complimented Epps and Lathan on their performances, and said, "Love & Basketball serves as a somber reminder of how few films exist (much less love stories, much less ones that focus on the female perspective) about multi-dimensional African-American characters outside the ghetto."[6] Film critic Desson Howe of The Washington Post's Entertainment Guide wrote, "Love and Basketball had moments of such tenderness and sophistication, complimented [sic] by such romantic dreaminess between lead performers Omar Epps and Sanaa Lathan. First-time filmmaker Gina Prince-Bythewood's film joins such films as The Best Man and The Wood, which look for the class, not the crass, in African American life." Howe gave the film a favorable review.[10]
New York Post film critic Jonathan Foreman gave the film a mixed review; he appreciated how the film "effectively conveys the excitement of basketball from a player's point of view", but says it's filled with fake-sounding dialogue you only find in the cheesiest TV movies."[11] Roger Ebert, film critic of the Chicago Sun-Times, says "The film is not as taut as it could have been, but I prefer its emotional perception to the pumped-up sports clichés I was sort of expecting. It's about the pressures of being a star athlete; the whole life, not the game highlights. I'm not sure I quite believe the final shot, though. I think the girl suits up for the sequel." Ebert gave the film three out of four stars.[12] Robert Wilonsky of the Dallas Observer gave the film a negative review, saying, "[it] is a film built upon transitions so weak and obvious it's astonishing the entire thing doesn't collapse on itself. You want to root for it, as you would any rookie underdog, but it offers nothing to cheer for."[13] He also elaborates on the acting, stating "Omar Epps possesses a chiseled body and a blank stare [...] Lathan is only slightly better, but she's stuck in a hollow role."[13]
Box office[edit]
Love & Basketball was released in North America on April 21, 2000 to 1,237 theaters.[14] It grossed $3,176,000 its first day and ending its North American weekend with $8,139,180, which was the second-highest grossing movie of the April 21–23, 2000 weekend, only behind U-571.[15] Love & Basketball grossed $27,459,615 in the United States, which is ninth all-time for a basketball film and thirty-seventh all-time for a sports drama.[14] The film grossed $27,728,118 worldwide; $268,503 (1%) was grossed outside of the United States.[14]
Awards[edit]
BET Awards
Year
Nominee/work
Award
Result
2001 Sanaa Lathan Best Actress Won[16]
Black Reel Awards
Year
Nominee/work
Award
Result
2001 Love & Basketball Best Film Won[17]
Love & Basketball Best Film Poster Won[17]
Love & Basketball Best Soundtrack Won[17]
Sanaa Lathan Theatrical – Best Actress Won[17]
Gina Prince-Bythewood Theatrical – Best Director Won[17]
"Fool of Me" (Meshell Ndegeocello) Best Song Won[17]
Humanitas Prize
Year
Nominee/work
Award
Result
2000 Love & Basketball Sundance Film Category Won[18]
Independent Spirit Awards
Year
Nominee/work
Award
Result
2000 Gina Prince-Bythewood Best First Screenplay Won[19]
Key Art Awards
Year
Nominee/work
Award
Result
2001 D. Stevens Best Drama Poster Won[16]
NAACP Image Award
Year
Nominee/work
Award
Result
2001 Film Outstanding Motion Picture Nominated[20]
Omar Epps Outstanding Actor in a Motion Picture Nominated[20]
Sanaa Lathan Outstanding Actress in a Motion Picture Won[21]
Alfre Woodard Outstanding Supporting Actress in a Motion Picture Won[21]
Kyla Pratt Outstanding Youth Actor/Actress Nominated[20]
References[edit]
General
Prince-Bythewood, Gina (Director) (2000). Love & Basketball (DVD). Los Angeles, CA: New Line Cinema.
Specific
Jump up ^ "Love & Basketball – Cast and Crew". AllRovi. Rovi Corporation. Retrieved January 28, 2012.
Jump up ^ "Love & Basketball (Soundtrack) – Original Soundtrack > Overview". Allmusic. Rovi Corporation. Retrieved February 2, 2012.
Jump up ^ "Love & Basketball (Soundtrack) – Original Soundtrack > Credits". Allmusic. Rovi Corporation. Retrieved February 2, 2012.
Jump up ^ "Love & Basketball (Soundtrack) – Original Soundtrack > Charts & Awards > Billboard Albums". Allmusic. Rovi Corporation. Retrieved January 28, 2012.
Jump up ^ Proefrock, Stacia. "Love & Basketball (Soundtrack) – Original Soundtrack > Review". Allmusic. Rovi Corporation. Retrieved February 2, 2012.
^ Jump up to: a b Deahl, Rachel. "Love & Basketball – Review". AllRovi. Rovi Corporation. Retrieved January 28, 2012.
^ Jump up to: a b "Love & Basketball Reviews, Ratings, Credits, and More". Metacritic. CBS Interactive. Retrieved January 27, 2012.
Jump up ^ "Love and Basketball". Rotten Tomatoes. Flixster. Retrieved January 27, 2012.
^ Jump up to: a b c Schwarzbaum, Lisa (April 28, 2000). "Movie Review: Love * Basketball (2000)". Entertainment Weekly. CNN. Retrieved February 2, 2012.
Jump up ^ Howe, Desson (April 21, 2000). "'Love and Basketball': A Winning Team". The Washington Post. Retrieved January 27, 2012.
Jump up ^ Foreman, Jonathan. "It Shoots, It Misses". New York Post. Archived from the original on December 10, 2000. Retrieved December 17, 2016.
Jump up ^ Ebert, Roger (April 21, 2000). "Love & Basketball". Chicago Sun-Times. Retrieved January 27, 2012.
^ Jump up to: a b Wilonsky, Robert. "Foul Shots: All's So-so in the Off-the-mark Hoop Drama Love & Basketball". Dallas Observer. Archived from the original on February 23, 2001.
^ Jump up to: a b c "Love & Basketball (2000)". Box Office Mojo. IMDb. Retrieved October 18, 2008.
Jump up ^ "Weekend Box Office Results for April 21–23, 2000". Box Office Mojo. IMDb. Retrieved January 27, 2012.
^ Jump up to: a b "Love and Basketball (2000) – Awards". IMDb. Retrieved January 25, 2012.
^ Jump up to: a b c d e f "Black Reel Awards (2001)". IMDb. Retrieved January 25, 2012.
Jump up ^ "Past Winners: Sundance Winners". Humanitas Prize. Archived from the original on April 6, 2010. Retrieved February 5, 2012.
Jump up ^ "Love & Basketball > Awards". AllRovi. Rovi Corporation. Retrieved January 25, 2012.
^ Jump up to: a b c "2000 Image Awards". Imdb.com. Retrieved 9 July 2016.
^ Jump up to: a b "2001 NAACP Image Awards". Infoplease. Retrieved January 25, 2011.
External links[edit]
Wikiquote has quotations related to: Love & Basketball
Official website
Love & Basketball on IMDb
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