Who of us doesn’t love a good underdog story? There is something so compelling about those tales of outsiders and oddballs defying the odds and emerging victorious, and while these are often very predictable, they can be quite endearing, especially when done well. One recent example of how effective such a film can be when produced correctly is Champions, which serves to be the first solo directorial outing of Bobby Farrelly, who has followed in his brother’s footsteps in taking the reigns of a film all on his own, and doing so with a more simple but far more intriguing concept. Based around the story of a disgraced NBA coach who has grown tired of being treated as if his opinion and experience doesn’t matter, and that he is essentially just another rambling voice that has to report in to people who view him as essentially just an inconsequential source of nothing more than support, rather than meaningful guidance – and his vanity turns out to be quite a problem, as he soon finds himself acting erratically and being punished with community service, tasked with coaching a group of basketball players with intellectual disabilities, much to his chagrin. A film in which we can predict nearly every narrative beat to the point of certain plot elements being plucked directly from every similar-themed story, Champions is nonetheless a very charming film, an endearing examination of individuality through the lens of a solidly-crafted comedy with dramatic overtones. Anchored by strong performances and a sense of genuine admiration for the material, Champions is a delightful and very funny film, albeit not one that is particularly original in either concept or execution, which is exactly what we should expect while venturing into this film. If anything, the sense of reliability in knowing that it will follow careful guidelines to the point of being quite conventional is a comfort, since we at least know that there will be some degree of nuance in how it handles its fundamental ideas, which is something that is imperative in the development of this film and its overall themes.

A decade ago, had we been told that not only would the Farrelly Brothers have essentially split up and pursued solo directorial careers, but that they would be making more serious, traditionally emotive films rather than off-the-wall comedies, it is not likely that we’d believe such a sentiment, because neither of them seemed like they were all that interested in more earnest fare, especially since their partnership had built a substantial body of work that was known for a very specific kind of film. Whereas Peter Farrelly has actively pursued more patriotic tales that touch on themes such as race relations and the perils of war (who of us could have predicted that?), Bobby Farrelly has seemingly decided to stay closer to home, but still deviate in his own way. Champions is not the most well-crafted film, and it is about as predictable as such a film can get, which is exactly what we’d expect from a sports comedy directed by one-half of the Farrelly Brothers, a directorial duo that has never been known for their complexity of narrative or visual creativity. However, despite the obstacles that seemingly stood in his way, the director defies the odds and turns in quite a solid effort, a film that is not always free of flaws, but at least has the good sense to acknowledge its limitations and not attempt to develop too much on ideas that are best left alone unless handled by someone with a genuine investment in the subject. This film is based on the Spanish-language film Campeones, with Farrelly working closely alongside screenwriter Mark Rizzo to adapt this film, which was a pleasant but otherwise quite traditional sports comedy that plucks on the heartstrings in a way that could be viewed as manipulative if the right person isn’t at the helm. Mercifully, while he is not a director that has ever really demonstrated too much elegance or subtlety, Farrelly is not unskilled, and such an adaptation is a good way to fight his solo footing, since he has a solid framework from which to work from, and is working with material that had previously been successful, just bringing an American perspective to a relatively safe and solid premise.

Based on the subject matter and the potential for controversy, I’m not entirely sure whether Farrelly was the right choice in theory to adapt this material, but in practice he proves to be a lot more empathetic of a filmmaker than many of us may have initially imagined. There is logically some degree of logical hesitation in equating the subject matter of this film, which is about individuals with developmental and intellectual disabilities, with the director perched behind the camera, who had made his career from crude humour that often took aim at the low-hanging fruit, a harsh but truthful approximation of the work done by the Farrelly brothers at their peak. However, change is always possible, and it seems only fair that we afford one the same benefit of the doubt as the other, especially when the subject he is tackling is done with a lot more honesty and empathy. Champions is quite an unexpectedly compassionate film, and Farrelly shows an abundance of growth by demonstrating his respect for these characters, never trivializing their struggle or viewing them as anything other than ordinary people leading lives that are made more difficult by their disability, but not entirely diminished. Every character in this film is treated with respect, but not in a way that is overly precious, since there is often a risk of being too compassionate to the point of coddling the characters and preventing them from growing. Progress in cinema is slow, and we have to take every victory we can, so the concept of one of the Farrelly brothers making a film about people with disabilities that actually portrays them as fully-formed, three-dimensional characters rather than the punchline at the end of a joke is an enormous achievement on its own, and Farrelly earns an abundance of credibility through simply putting in the effort, which is often half the battle when it comes to representation on screen. Perhaps he isn’t the voice any of us expected to contribute to this steadily growing canon of thoughtful examinations of disabilities in the contemporary world, but he is certainly not unwelcome, even if his ideas do bring a few clumsy elements that we can easily overlook based on his good intentions.

You would not be mistaken for believing that Champions was designed to be a vehicle for Woody Harrelson to lead a film, something that is becoming increasingly rare now that he has seemingly nestled into the status of being a more reliable character actor. One of our great screen presences, and an actor who almost always brings a unique perspective to every performance, the choice to occasionally offer him a major role in which he is tasked with carrying an entire film (which is not a challenge for him, since he is one of the more charismatic actors of his generation) is the reason why he often delivers his best work in the most unexpected of places. Champions is objectively not amongst his finest work (it is a good film, but we need to discuss it with some sense of realism – this is not a major achievement for either the director or his star, who are doing solid but conventional work), but it is one that shows his innate charisma, as well as his effortless ability to command the screen, bringing a blend of pathos and humour to every moment of this film. However, there is a moment when we realize that Harrelson is merely the figurehead of this film, the mascot that represents the true stars, which are the actors cast in the supporting roles, the young adults with intellectual disabilities that play the major parts alongside Harrelson. Some of the most impactful changes in terms of representation are the small choices, such as actually casting individuals with disabilities in these roles, rather than asking able-bodied or neurotypical actors to take on these parts, which would have been common practice as recently as a decade ago, if not even sooner. Unsurprisingly, as is often the case with giving non-conventional actors the chance to play these roles, the entire supporting cast steals the film, and Harrelson is frequently (and deservedly) overshadowed by his co-stars, all of whom are absolutely wonderful, conveying so much sweetness and lovable sweetness that we simply can’t avoid being won over by their charm, which is both the narrative and emotional anchor of this film. 

At a cursory glance, Champions doesn’t appear like much, and it is easy to overlook it based on the simplicity of the premise and the fact that it feels like a film we have seen countless times before, and the presence of Farrelly as a director does not inspire much confidence, regardless of how you view him and his brother as filmmakers, since not even their comedies prior to their split were all that good, seemingly having lost the lustre that had previously defined them and made these films so special. However, this film does reward those who give it a chance, since there is something very meaningful about how this film handles its material, both in terms of the issue of representation and how it manifests on screen. This is not a film that is free of shortcomings, and it certainly feels like a sports comedy about intellectual disabilities directed by a director known primarily for low-brow comedies, but who has chosen to take a more nuanced approach to the directorial process, almost to the point of becoming overly intent on proving that he is now supposedly much more serious than he was in previous decades. Yet, it all works together, this film quite literally defies expectations to be a strong, heartful exploration of disability and the lives of those that are confronted with challenges that are beyond their control, and thus deserve recognition rather than having their journeys trivialized. Undeniably, this film does emphasize this fact almost to the point of being didactic – it is not a mistake that there are several moments in the film where it quite literally pauses to show the domestic and personal lives of these characters, pointing out that they are far more than their disability, and that they each live rich, fulfilling lives (that very phrasing being used in the film) – and while this can feel overly expositionary and just an effort to add detail to this film. Yet, this is certainly better than nothing, and every bit of detail that can go into showing the lives of those who are differently abled is welcome. Champions is not a film that is going to have an immediate impact – if anything, its biggest contribution is being one of the more notable mainstream attempts to explore the lives of the disabled in a way that feels authentic. It is neither the best nor most definitive statement on any of its subjects, but its heartfulness and very endearing tone make for a powerful and insightful story, and a comedy with a lot of soul, enough to maintain our attention and keep us both entertained and moved, which is perhaps the best aspiration for such a film.