Review
The Dink (2026)
image: Apple Original Films
Director: Josh Greenbaum
Writer: Sean Clements
Cast: Jake Johnson, Mary Steenbergen, Aaron Chen, Ed Harris, Patton Oswald, Cleo King, Lynne Marie Stewart, Ben Stiller
Run Time: 1h 42m
UK Rating: 12
5/10
Apple TV’s The Dink is an incredibly low stakes comedy, the kind that streaming services have cornered the market in. It’s a film that would have gone unnoticed given a cinema release but might pique the interest of those wanting something unadventurous on movie night. Buoyed by the chemistry between its two stars who just about manage to elevate the aggressively formulaic script. At no point will The Dink ever surprise you, or make any deviation from the character arcs you guessed in the opening minutes. The film’s appeal will solely hang on whether you’re charmed by Jake Johnson and Mary Steenburgen’s affable performances.
After an ignominious exit from professional tennis, former prodigy Dustin “Dusty” Boyd (Jake Johnson) is reduced to teaching children at his father’s private tennis club. Trained since birth for sporting greatness, Dusty relives his glory days with his sycophantic coworker and only friend PJ (Aaron Chen). His father Chuck, (Ed Harris) is a cold and aloof parent, more consumed with paranoia about pickleball taking over his beloved club than with the wellbeing of his moorless son. He’s far more concerned with the popularity of pickleball in his beloved club which he compares to the rampant and destructive spread of the Covid 19 pandemic). He knows that the pickleball players have the numbers to win a vote to gain more space than the sole court that they’ve been relegated to and proposes a match between the factions to decide the fate of the club. Dusty sees this match as a way to finally prove himself to his father but injures himself before he’s able to represent the tennis loyalists. Eager to return to match form, Dusty’s doctor (Ben Stiller) proposes using pickleball to speed up his recovery which he reluctantly and secretly attempts. It’s here that he meets Candace (Mary Steenburgen) who took up pickleball after her divorce. They form an unlikely partnership, linked by their competitiveness and desire to win. The pair’s on court relationship blossoms into a friendship that Dusty struggles to navigate given their age gap and his desire to deride pickleball in order to get closer to his father. With his Dad’s tennis club’s fate hanging in the balance will Dusty be loyal to his dismissive father or new found friend?
image: Apple Original Films
Reading this brief description you know exactly where this film is going to go. You can probably guess specific plot points and character arcs. The Dink is simply that predictable. It’s as if the screen writer Sean Clements (who co-hosts The Hollywood Handbook podcast) took the script to Happy Gilmore (1996) or Talladega Nights: The Ballad of Ricky Bobby (2006) and followed the structure beat for beat. It leans so hard on the tropes of these films that deja vu begins to set in. Even Dusty is far too similar to the protagonists of these films and television shows. Arrogant and a little deluded, he’s only set apart by Johnson's innate charm and vulnerability. He’s never so brash that you doubt Candace’s fondness for him or fail to root for his success. Johnson has carved a niche in recent years as directionless men leaving the prime of their youth and it’s a role he plays with practiced effortlessness.
Steenburgen excels as Candace, direct and sincere but struggling to navigate life post divorce. She jokes that she lost her friends to her ex in the separation but her new hobbies indicate a need to find her own space as a single woman. Just like Dusty she’s seeking friendship and validation after losing her confidence. The entire film hinges on their relationship and luckily it feels natural and sweet as the rest of the cast simply fade into the background. Only Patton Oswalt manages to leave an impression, stealing any scene that he’s in and adding some energy to what is otherwise surprisingly rote. The film is peppered with comic actors (Fortune Feimster, Don Lake, Chris Parnell) whose roles are limited to background exposition or in the case of producer Ben Stiller gratingly unfunny. Given the talent involved it’s shocking that one of the most memorable comic moments comes from John McEnroe towards the end of the film.
image: Apple Original Films
The director Josh Greenbaum’s debut was the brilliantly ridiculous Barb and Starr Go To Vista Del Mar (2021), which seemed to pop with invention. The Dink by comparison is flat, with scenes shot like a sitcom. Even the Pickleball matches lack any excitement or visual flair. Comedies have proven any sport can appear exciting with careful editing and cinematography but The Dink makes almost no effort to make things dynamic or engaging. These films need a certain amount of flair to give tension to the narrative stakes but the climatic game simply looks like friendly rallies traded back and forth. The film offers nothing particularly cinematic, with flat lighting and the shot composition that seems specifically designed for phone screens. There’s simply too much competition in the genre, especially on television (it launched a week after The Hawk, Will Ferrell’s golf comedy on Netflix) for a film this tepid and predictable. Greenbaum’s next film is directing Space Balls: The Next One (2027) which he will hopefully helm with a little more flair.
Watched on Apple TV
Published 2nd September 2026