The film's plot surrounds a retired Major League Baseball player who makes a comeback at age 47 in order to attain 3,000 hits.

After recording his 3,000th hit, Ross immediately retires, leaving the team without one of its star players in the middle of the 1995 playoff race, showing every bit of disregard for his teammates' feelings that his decision will cost them the championship.

Only his best friend Anthony “Boca” Carter and a middle relief pitcher from his early days in the majors named Bill “Big Horse” Berelli attend, and the ex-pitcher chastises Ross for his arrogant attitude.

Ross attempts to become serious with Simmons and make her a permanent part of his life, but she is reluctant to believe he is a changed man, particularly after he skips a team practice to go on national television with Jay Leno and soak in all the attention he is receiving.

[7] Roger Ebert praised Bernie Mac for delivering a "funny and kind of touching performance" that's believable, Bassett for infusing a "convincing emotional spirit" into her character and the film overall for sidestepping its sports comedy formula, saying "to my surprise, it finds a variation.

"[8] Anita Gates of The New York Times gave praise to Stone III for directing a film that mixes "laughter and meaning" thanks to the "bull's eye-casting" of his supporting players and Mac for crafting a multi-layered character, concluding that, "[I]f there was any question about how well [Bernie] Mac's charm, demonstrated in stand-up comedy and on his Fox sitcom, would play on the big screen, the news is good: no problem.

"[9] Kevin Thomas from the Los Angeles Times praised Mac for giving "range and resonance" to his title character and the filmmakers for being able to "reconfigure[d] a sports movie plot to bring to it depth as well as laughter, and, better yet, made it unpredictable."

Club said, "Sputtering along on Mac's sleepy improvisations, Mr. 3000 volleys between the dumb, frat-house wackiness of Major League and the "Wonder Bat" schmaltz of The Natural, chasing the gags with a lame baseball-as-life message about playing for the right reasons.

"[11] Marrit Ingman of The Austin Chronicle said it pales in comparison to Stone III's debut effort Drumline, in terms of that film's "amiability and no-nonsense moral center", and replacing it with numerous sports montages, "lowbrow gags" and "lazy, shorthanded characterizations.