Once it became popular, it was pretty clear there would always be a movie about the paddle-wielding insurgency that is pickleball. The only surprise is that “The Dink” from Apple TV manages to extract genuine warmth from a premise that could easily have devolved into a feature-length sitcom sketch.
Directed by Josh Greenbaum from a script by Sean Clements, the film coasts comfortably on the scruffy charm of Jake Johnson. He plays Dusty Boyd, a former tennis prodigy whose glory days are behind him, leaving him to coach unruly kids at a country club run by his demanding father, Chuck (Ed Harris).
Chuck is a stubborn traditionalist waging a bitter war against the pickleball craze. Dusty is desperate for paternal approval, but when an old injury flares up, he quietly crosses enemy lines to use the smaller courts for rehabilitation. Johnson has spent his career perfecting the lovable slacker, and he wears Dusty like a comfortably broken-in sneaker.
His reluctant transition from tennis snob to pickleball convert feels earned, largely because of his interplay with Mary Steenburgen. As his enchanting new doubles partner, Candace, Steenburgen brings a loose energy that thaws Dusty’s cynicism. Meanwhile, Harris anchors the lighter comedic volleys with authentic paternal frostiness.
Their father-son dynamic is thoroughly familiar, relying heavily on standard sports-comedy beats, but these seasoned actors find enough sincerity in the margins to make the emotional friction work. Where “The Dink” stumbles is in its pacing and a reliance on cartoonish rivalries; real-life tennis star Andy Roddick shows up playing a heightened version of himself as Dusty’s childhood nemesis, leaning hard into the absurdity.
It is a funny initial sight gag that eventually overstays its welcome, stretching out the film’s final act when Greenbaum should be tightening the narrative screws. Clements’s script aims for underdog sports glory, yet the actual stakes—the fate of a suburban country club—rarely feel urgent. The visual style is similarly functional, prioritizing brightly lit court action over real cinematic flair or striking composition.
Greenbaum frames the turf war between tennis elitists and pickleball upstarts with breezy comedic timing, successfully capturing the distinct rhythms of both sports. For all its structural predictability, the film remains an undeniably pleasant diversion. It succeeds as a gentle, modest, character-driven comedy about letting go of past failures, redefining athletic identity, and finding community in unexpected places.
You know exactly where this tournament is headed from the opening serve, but the affable company is charming enough to make the final match worthwhile.
Final Grade: B-
“The Dink” will premiere globally on Apple TV on July 24, 2026.
For this week’s Second Listen Sunday, I want to revisit 2004 and highlight Romeo’s debut solo album, formerly of Immature. Titled “Food for Thought” and released on June 22nd, this project marked the singer’s change of name to Young Rome in an effort to distance himself from the youthful sound of his group, much like his bandmate Marques Houston had done a year earlier.
In the nineties, Hip-Hop reigned supreme, and every label CEO wanted a share of the lucrative R&B market. One strategy was to keep singers on their roster who could deliver catchy hooks, keeping everything in-house and saving money. Bad Boy had Carl Thomas, Death Row had Danny Boy, and Roc-A-Fella had Rell, our featured artist for this week’s Slow Jam Saturday
Growing up in the eighties, I was surrounded by incredibly talented male R&B singers who could deliver unforgettable love songs. Artists like Luther Vandross, Jeffrey Osborne, and Peabo Bryson dominated the airwaves, but Freddie Jackson was another voice that truly deserved recognition.