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Review: 'The Golf 100' isn't so much a pecking order of greatest players. It's an index of lively profiles

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Review: 'The Golf 100' isn't so much a pecking order of greatest players. It's an index of lively profiles

From John McDermott’s fragile psyche to the sustained excellence of Jack Nicklaus and Tiger Woods — or Woods and Nicklaus; no spoiler here on who’s No. 1 — this countdown of the top golfers is less a list than an index of insightful, lively profiles rife with anecdotes centered on their most joyous and miserable moments.

“The Golf 100: A spirited ranking of the greatest players of all time” is the 16th title by author Michael Arkush, most of them from the sports realm including New York Times bestsellers “The Last Season” with Phil Jackson and “The Big Fight” with Sugar Ray Leonard. This one is all Arkush and displays his storytelling — some sweet, some savory, a few bitter — in bite-size pieces.

He includes greats from the early 20th century. He includes greats from other countries. He includes women. Why? Because their stories are compelling, even if ranking them became messy.

So, yes, there are 100 in all, spread over 366 pages.

Lists of the greatest golfers aren’t a novel conceit. GolfDay published one a year ago. Golf Digest has its own. Folks have concocted lists on Reddit. Bleacher Report took a swing. There is even the website thealltimegreatestgolfers.com.

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Times sportswriter Houston Mitchell got more than 12,000 readers to respond in 2009 to a poll ranking golfers. The top five are among Arkush’s top 10, although not remotely in the same order.

Most rankings are based on point systems, assigning weighted numbers to categories such as total tournaments won, top-10 finishes, player of the year awards, career longevity and performance in the four majors — the U.S. Open, Masters, British Open and PGA Championship.

Arkush prioritized the majors, writing in the forward that they “feature the strongest fields and, more often than not, are staged on the most demanding courses. When history is on the line.”

Still, Arkush allowed himself license after covering professional golf for 30 years (he was an entertainment reporter for The Times from 1988 to 1995). Once the numbers were tabulated, he shuffled the deck by employing subjective criteria such as a golfer’s impact or contributions to the sport.

“I was similar to a juror who, despite a stern warning from the judge not to let evidence deemed inadmissible be a factor in the verdict, couldn’t help its affecting his thinking in one way or another,” Arkush wrote.

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An example is his inclusion of Francis Ouimet, a name unfamiliar to all but the most serious golf history buffs. He won the 1913 U.S. Open at the tender age of 20 over Harry Vardon, a British golf titan credited with inventing the modern grip and swing. Bobby Jones, the epitome of class, came along next, and the pendulum soon swung to the U.S. side of the Atlantic.

Like so many writers, Arkush was loath to let numbers get in the way of a good yarn, beginning with ranking McDermott at No. 100. The cheeky son of a mailman became the first American to win the U.S. Open in 1911 — at age 19 — one year after he finished second to Scottish immigrant Alex Smith, telling him as they exited the course, “I’ll get you next year, you big tramp.”

McDermott’s penchant for popping off soon got him in trouble, and that was followed by a steep fall. He embarrassed the more genteel of his countrymen by bragging about his Open victories in the presence of Vardon. Then he was saved by a lifeboat after being a victim of a shipwreck. Then he lost a fortune in the stock market. Then he was committed to a sanitarium in 1916 and was never the same.

Arkush concludes the profile describing a chance meeting between an elderly McDermott and a gracious Arnold Palmer that provides a poignant connection between the infancy of professional golf in America and its elevation in stature to the “Arnie’s Army” level by 1970.

Only 99 to go.

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The list includes 15 women, trailblazers and champions such as Mickey Wright, whose 82 Tour victories included 13 majors and whose swing was lauded as the best of anyone regardless of gender by no less than Ben Hogan.

Pioneers of the sport, firmly planted in the wellspring of 19th-century Scotland, are given their due. While the Union and Confederate armies were preparing for war across the pond, Willie Park Jr. and Old Tom Morris exuded geniality and competence on the green, dominating the British Open from its inception in 1860 through more than a decade.

Old Morris passed on his mashie niblick — an early term for a seven iron — to his equally talented son, Young Tom Morris, who won the British Open four times from 1868 to 1872. They are the only father-son combo among the 100.

Americans began to hold their own by the 1920s, and professional golf has increased in popularity as a spectator sport to this day. It’s also an endeavor that nearly anyone can try and many become passionate about.

One hundred is a somewhat arbitrary number to cap excellence, impact and irresistible storytelling. It’s plenty for Arkush to mine, though, and relate the history of golf through the very best golfers.

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As for the thorny task of comparing golfers across generations and even centuries, Arkush leans on the wisdom of Jones, whose words can be extrapolated fairly to include women as well as men:

“I think we must agree that all a man can do is beat the people who are around at the same time he is. He cannot win from those who came before any more than he can from those who may come afterward.”

Movie Reviews

Film reviews: ‘Marty Supreme’ and ‘Is This Thing On?’

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Film reviews: ‘Marty Supreme’ and ‘Is This Thing On?’

‘Marty Supreme’

Directed by Josh Safdie (R)

★★★★

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Josh O’Connor plays a sensitive stripper on ‘SNL’ and Lily Allen’s ‘Madeline’ has a surprise

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Josh O’Connor plays a sensitive stripper on ‘SNL’ and Lily Allen’s ‘Madeline’ has a surprise

“Saturday Night Live” hosts typically make their mark on the show, either by boosting the sketches they’re in with charm and good timing or making a lesser kind of mark by awkwardly revealing why they aren’t right for live sketch comedy.

So what are we supposed to make of British actor Josh O’Connor, who hosted “SNL” for the first time and left almost no impression at all?

O’Connor, known for playing Prince Charles in “The Crown” and for performances in “Challengers” and the new Netflix movie “Wake Up Dead Man: A Knives Out Mystery,” seemed game enough, but throughout most of the show he had little opportunity to do much more than blend into sketches centered around characters he was not playing.

He played supporting parts including the Tin Man in a revamped “Wizard of Oz” sketch involving the male characters deciding they actually want a “big old thang” instead of their original wishes, a fellow student in a sketch about a 12-year-old college prodigy (Bowen Yang), Rudolph the Red-Nosed Reindeer in a Christmas characters piece that was a take on Variety’s “Actors on Actors,” and an awkward brunch attendee.

Only in a few sketches, including a “Dating Game” parody featuring Ashley Padilla as a rowdy 84-year-old contestant; a hospital sketch in which he played a bad intern; and one in which O’Connor and Ben Sherman played sensitive male strippers at a bachelorette party did he have lead roles. And they weren’t particularly memorable characters or portrayals. Only when he kissed fellow cast members at the end of sketches (Yang and Sherman) did things seem to liven up.

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In fact, it felt more like a spotlight episode for Yang — who played the Wizard; the fast-talking, high-attitude Doctor Please in the hospital sketch; and the 12-year-old college student — and for musical guest Lily Allen. Allen’s scathing performances of “Sleepwalking” and “Madeline” from her new breakup-with-David Harbour album were high drama. The latter song featured a big surprise: Actor Dakota Johnson spoke from behind a scrim as the titular character and then appeared next to Allen when the song ended. Another Allen song, “West End Girl,” was the subject of an entire brunch sketch in which cast members sang about their feelings to the tune of the music. Allen showed up as herself but filling in as a waitress at their table.

It’s hard to say if the material just misfired for O’Connor or if he’s just an awkward fit for “SNL,” but unfortunately what stood out in the episode had little to do with him.

In addition to the sketches, this “SNL” episode included a Christmas-themed “Brad and His Dad” animated short.

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Ready for another President Trump-centered cold open? Sorry, you got one anyway. James Austin Johnson once again aced his impression of Trump with a stream-of-consciousness ramble for reporters aboard Air Force One that White House Press Secretary Karoline Leavitt (Ashley Padilla) attributed to exhaustion. “I took an Ambien and an Adderall, let’s see which one wins,” said Trump before inappropriately fixating on Leavitt’s lips and denying that affordability is a problem. “Economy is very strong,” he said, “from the billionaires all the way down to the poor millionaires.” Trump addressed attacks on Venezuelan ships, saying, “We’re doing pirate now, argh,” and promising that attacks would move from the sea to the air, leading to a visual joke of Santa Claus and his reindeer on radar being shot out of the sky.

O’Connor’s monologue focused on two things those unfamiliar with his acting should know about him: that he has a reputation as a “soft boy,” someone who embroiders, scrapbooks and gardens like an “average 65-year-old woman.” The other is that he resembles chef Linguini from the Pixar film “Ratatouille,” and though a rumor that he wanted to play the character in a live-action version was unfounded, he would very much like to play that character. “For what it’s worth,” he said, “I would kill as Linguini.”

Best sketch of the night: You ate how many nuggets this year?

Even though it’s already well-trod meme material (including an almost identical comic strip’s premise), “SNL” was still able to squeeze some juice from Spotify’s Wrapped, a year-in-review feature that returned for another round earlier in the week. Uber Eats has a year-in-review, too, and you absolutely don’t want your significant other to see what fast food you’ve ordered and whether you’re in the top 1% of nugget eaters. If your Uber Eats age is “52 and Fat,” it may not be knowledge you wish to have. The mock commercial does a great job balancing the shame we feel about the awful foods we eat with the amount of data we could learn about those habits, if only anyone ever wanted to see that.

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Also good: These kind male strippers give the best empathy hugs

A bachelorette party at a cozy cabin is interrupted by two hired male strippers, Augie and Remington (Sherman and O’Connor), who ask for consent before entering and are soon removing their cardigans to reveal another layer of cardigan. The men dance to an emo version of “Pony” before revealing that one of them has a Zohran (Mamdani) tattoo on his stomach. They give lap dances, but one of them gets overstimulated and cries. “I was just thinking about the Supreme Court,” he moans. Not the most original sketch idea, but the specific details of the characters and Padilla’s smitten reactions as the bachelorette saved the sketch from overstaying its welcome.

‘Weekend Update’ winner: Superheroes, Santa and your boss all want you to behave

Jane Wickline did a nice job with a surprisingly violent original song about stopping the biggest threat facing the world: not AI, but the grown-up child actors from “Stranger Things.” But it was Marcello Hernández who got big laughs recounting what Christmas is like for his Cuban family. It includes dealing with new boyfriends of family members pretending to be who they aren’t. “You don’t like the food, Kyle, you like having sex with my cousin!” Hernández wandered a bit, straying to talk about “Home Alone” and uncles who give unsolicited sex advice, but the heart of the segment was impressions of his father calling to encourage his son as different characters including Santa Claus, Spider-Man and his boss, Lorne Michaels.

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Movie Reviews

Not Without Hope movie review (2025) | Roger Ebert

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Not Without Hope movie review (2025) | Roger Ebert

Joe Carnahan was a sagacious choice to co-write and direct the engrossing and visceral survival thriller “Not Without Hope,” given Carnahan’s track record of delivering gripping and gritty actioners, including early, stylish crime thrillers such as “Narc” (2002) and “Smokin’ Aces” (2006), and the absolutely badass and bonkers Liam Neeson v Giant Wolves epic “The Grey” (2011).

Based on the non-fiction book of the same name, “Not Without Hope” plunges us into the stormy waters of the Gulf of Mexico for the majority of the film, and delivers a breathtaking and harrowing dramatic re-creation of the 2009 accident that left four friends, including two NFL players, clinging to their single-engine boat and fighting for their lives. The survival-at-sea story here is a familiar one, told in films such as “White Squall,” “The Perfect Storm,” and “Adrift,” and the screenplay by Carnahan and E. Nicholas Mariani leans into well-worn tropes and, at times, features cliché-ridden dialogue. Still, this is a well-paced and powerful work, thanks to the strong performances by the ensemble cast, some well-placed moments of character introspection, and the documentary-style, water-level camerawork by Juanmi Azpiroz.

Zachary Levi (the TV series “Chuck,” the “Shazam!” movies) is best known for comedy and light action roles. Still, he delivers solid, straightforward, and effective dramatic work as Nick Schuyler, a personal trainer who helps his friends Marquis Cooper (Quentin Plair) and Corey Smith (Terrence Terrell), two journeyman NFL players, get ready for another season. When their pal Will Bleakley (Marshall Cook) shows up at a barbecue and announces he has just been laid off from his financial firm, he’s invited to join the trio the next morning on a day-trip fishing trip from Clearwater, FL., into the Gulf of Mexico. (The casting is a bit curious, as the four lead actors are 10-20 years older than the ages of the real-life individuals they’re playing — but all four are in great shape, and we believe them as big, strong, physically and emotionally tough guys.)

We can see the longtime bond between these four in the early going, though we don’t learn much about their respective stories before the fishing trip. Kudos Carnahan and the studio for delivering a film that earns its R rating, primarily for language and intense action; the main characters are jocks and former jocks, and they speak with the casual, profanity-laced banter favored by many an athlete. (Will, describing the sandwiches he’s made for the group: “I got 20 f*cking PB&Js, and 20 f*cking turkey and cheese.”) There’s no sugarcoating the way these guys talk—and the horrors they wind up facing on the seas.

The boat is about 70 miles off the coast of Clearwater when the anchor gets stuck, and the plan to thrust the boat forward to dislodge it backfires, resulting in the vessel capsizing and the men being thrown overboard. Making matters worse, their cell phones were all sealed away in a plastic bag in the cabin, and a ferocious storm was approaching. With title cards ticking off the timeline (“13 Hours Lost at Sea,” “20 Hours Lost at Sea,” “42 Hours Lost at Sea”), we toggle back and forth between the men frantically trying to turn over the boat, keep warm, signal faraway ships, battling hunger and thirst, and the dramas unfolding on land. Floriana Lima as Nick’s fiancée, Paula, and Jessica Blackmore as Coop’s wife, Rebekah, do fine work in the obligatory Wait-by-the-Phone roles.

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It’s terrific to see JoBeth Williams still lighting up the screen some 40 years after her “Big Chill” and “Poltergeist” days, delivering powerful work as Nick’s mother, Marcia, who refuses to believe her son is gone even as the odds of survival dwindle with each passing hour. Josh Duhamel also excels in the role of the real-life Captain Timothy Close, who oversaw the rescue efforts from U.S. Coast Guard Sector St. Petersburg. At one point, Close delivers a bone-chilling monologue about what happens when hypothermia sets in—“hallucinations, dementia, rage…eventually, it breaks your mind in half”—a point driven home when we see what’s happening to those men at sea. It’s savage and brutal, and heartbreaking.

Given this was such a highly publicized story that took place a decade and a half ago, it’s no spoiler to sadly note there was only one survivor of the accident, with the other three men lost to the sea. Each death is treated with unblinking honesty and with dignity, as when the natural sounds fade at one point, and we hear just the mournful score. With Malta standing in for the Gulf of Mexico and the actors giving everything they have while spending most of the movie in the water and soaked to the bone, “Not Without Hope” is a respectful and impactful dramatic interpretation that feels true to the real-life events.

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