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Seabiscuit

Drama · History

Seabiscuit

The hopes of a nation rode on a long shot.

7.1(948) 7/22/2003 2h 21m
DramaHistory

True story of the undersized Depression-era racehorse whose victories lifted not only the spirits of the team behind it but also those of their nation.

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Trailer

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Top Cast

Tobey Maguire

Tobey Maguire

Red Pollard

David McCullough

David McCullough

Narrator

Jeff Bridges

Jeff Bridges

Charles Howard

Chris Cooper

Chris Cooper

Tom Smith

Elizabeth Banks

Elizabeth Banks

Marcela Howard

GL

Gary L. Stevens

George Woolf

Eddie Jones

Eddie Jones

Samuel D. Riddle

William H. Macy

William H. Macy

Tick Tock McGlaughlin

Directed by

Gary Ross

Production

Reviews

Wuchak

7/10

1/31/2019

***Hope for the broken via a quirky, forsaken race horse*** During the Depression, an undersized, “lazy” horse named Seabiscuit becomes a champion, lifting the spirits of both its team and that of the nation. Jeff Bridges plays the owner, Tobey Maguire the jockey and Chris Cooper the trainer. Valerie Mahaffey is on hand as the owner’s wife. Based on the real story, “Seabiscuit” (2003) is reminiscent in tone of another timeless historical drama starring Bridges, “Tucker: The Man and His Dream” (1988) by Francis Ford Coppola. I prefer the underrated “Tucker” because it’s snappier and less vague, but “Seabiscuit” ain’t no slouch. Like the historically-based “Jeremiah Johnson” (1972) the manner of storytelling respects the intelligence of the viewer to sometimes read between the line

John Chard

9/10

5/26/2019

It wears its sentimental heart firmly on its fetlock. As the depression era kicks in, Americans were grasping for any sort of inspiration they could get, enter equine supreme, Seabiscuit. Considered broken down, too small and untrainable, Seabiscuit went on to become a bastion of great racehorses and in the process bringing solace to those closest to it. Back in 2003 upon its initial release, critics were very divided as to the merits of Seabiscuit as a picture. Some were concerned that this adaptation from Laura Hillenbrand's highly thought of novel missed too many crucial elements, others were merely touting the tired old charge of the film purely baiting Oscar (something that is levelled at every film in history about hope and second chances), the more astute critics of the time

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