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Across the Tracks

Across the Tracks

Drama · 1991

When Billy returns from reform school he has to attend a different high school at the other side of town. He tries to start with a clean slate but his old rival doesn't make it easy on him and his buddy Louie tries to make him go astray again. His brother Joe, quite the opposite of Billy, is a good runner and determined to win a track scholarship. He suggests Billy to join his school's track team, which pits the two brothers against each other.

Movie details

Across the Tracks

1991 Drama 1h 40m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

When Billy returns from reform school he has to attend a different high school at the other side of town. He tries to start with a clean slate but his old rival doesn't make it easy on him and his buddy Louie tries to make him go astray again. His brother Joe, quite the opposite of Billy, is a good runner and determined to win a track scholarship. He suggests Billy to join his school's track team, which pits the two brothers against each other.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Across the Tracks?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Sandy Tung

Written by

Sandy Tung

Ricky Schroder

Ricky Schroder

Billy Maloney

Brad Pitt

Brad Pitt

Joe Maloney

Carrie Snodgress

Carrie Snodgress

Rosemary Maloney

David Anthony Marshall

David Anthony Marshall

Louie

Thomas Mikal Ford

Thomas Mikal Ford

Coach Walsh

J

John Linton

Brad

Cyril O'Reilly

Cyril O'Reilly

Coach Ryder

Court is in session

Put Across the Tracks on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.