Underdog sports films are often irresistibly endearing, yet Taika Waititi’s latest comedy, Next Goal Wins, fails to capture the charm typically associated with the genre. Next Goal Wins is a sports comedy that aims to capture the spirit of underdog teams, but it struggles to deliver a cohesive narrative.
Inspired by the 2014 documentary of the same name, the film tells the story of the American Samoa football team, who were famously known as the worst team in the world following their 31-0 defeat to Australia in 2001. A decade later, with the World Cup qualifiers approaching, the team hires the gruff Dutch-American coach Thomas Rongen (played by Michael Fassbender) in hopes of improving their performance. Ironically, it’s Rongen who seems to need the most improvement. The film Next Goal Wins is inspired by the true story of the American Samoa football team’s journey to redemption.
Despite the moving real-life story at its core, Next Goal Wins falters due to Waititi’s storytelling choices, which strip away much of its inherent appeal. Although the film has all the makings of a heartwarming sports movie, it fails to deliver. Despite its promising premise, Next Goal Wins falls short of expectations with its uninspired execution.
The film makes a commendable effort to avoid the white-savior narrative, with some characters humorously acknowledging the trope and Fassbender’s character appearing absurd to the locals. However, the Samoan characters are ultimately sidelined, their roles reduced to mere support for the coach’s journey. The football team members are portrayed as nearly interchangeable, lacking depth and individuality. Even minor roles, such as those played by Elisabeth Moss and Will Arnett, are more fleshed out than the Samoan characters. Next Goal Wins features Michael Fassbender as the gruff coach brought in to turn the team’s fortunes around.
The Struggles of Next Goal Wins: Great Story, Lackluster Presentation
There is a troubling portrayal of the Samoans, with very few characters receiving the nuanced treatment afforded to the white protagonist.
One notable exception is Jaiyah Saelua, a fa’afafine played by transgender actor Kaimana, who receives significant attention in the script. Unfortunately, the handling of her character is awkward and at times offensive. While the film aims to show respect for her and highlight her struggles as a trans woman in a male-dominated sport, it often feels clumsy. Scenes depicting her deadname used as punishment and transphobic taunts from rival teams feel particularly mishandled. Additionally, the film’s focus on her body at times appears objectifying.
Given Kaimana’s standout performance, one might wonder if her story should have been the central focus of the film.
It is striking how such a compelling true story can be diminished by subpar writing and uninspired humor. Taika Waititi’s characteristic quirky comedy fails to make an impact here. His recent successes in collaborative projects, like Reservation Dogs, What We Do in the Shadows, and Our Flag Means Death, suggest he may excel better in ensemble efforts. With his latest work becoming his lowest-rated directorial effort and his decision to step away from directing more Thor films, Waititi may need to reassess his approach. For those interested in the true story, the original documentary is a more rewarding watch, available on NOW TV.