Southpaw

Eine gut verarbeitete Geschichte einer klassischen Lebenslinie auf-ab-auf. Jake Gyllenhaal und Forest Whitaker zeigen in meinen Augen oscarreife Leistungen, Rachel McAdams als schöne und gleichzeitig ergebene und liebende Frau wie immer makellos. ich würde nur eine bestimmte Unausgeglichenheit bemängeln, die erste Hälfte ist toll, dann scheint das Drehbuch wieder in blassen Szenen zu ertrinken, das Ende ist dann wieder hervorragend und mitreißend. (16.08.2015)

Filme über Boxen und Boxer sind nur gut, wenn sie von Max Schmeling oder Rocky Balboa handeln. Dies ist ein Beispiel für einen Film, der in keinerlei Hinsicht funktioniert. Es ist nicht ansprechend, es beeindruckt nicht. Mir hat nur der letzte Song von Eminem und Gwen Stefani gefallen. (22.07.2015)

Simply said, when the actor and director are on completely different level in terms of quality. While Gyllenhaal’s performance is brilliant and he is even "aiming for Oscar", Fuqua only makes just another everyday consumer version of the thousand-times-seen boxing B-movie melodrama, in which perhaps all genre clichés are present; just often in a non-functional style. It also strangely tends to fade away, because it starts with by far the best scene and then it only gets worse especially after falling to the bottom, when the true values are revealed and the after getting at its height again. It's kind of sad when the opening match has a driving force, energy and charge and the final one has nothing. It holds together only thanks to Gyllenhaal’s performance, but as I mentioned, his excellent performance seems almost inappropriate in this movie. (22.07.2015)

Jake Gyllenhaal was the reason why I watched this movie, but I was a bit worried about the director. Antoine Fuqua makes technically sound movies. So, the action sequences usually work out well. But it’s worse when it comes to emotions, dialogues and all other scenes that contain no action. In other words, most of the movie. Antione fails terribly at that and I actually thought I wasn’t going to be able to finish the movie and that I was going to go to bed instead. I haven’t seen such a boring and worthless movie for a long time. There are plenty of boxing dramas and I think every single one of them was better than Southpaw. (15.09.2015)

In his screenwriting debut, Kurt Sutter knocks out originality in the first round. (Everything important is actually revealed in the opening credits, based on which it isn’t hard to figure out that Whitaker will play a more important role than Rachel McAdams, so you end up just waiting for him to appear on the scene and wondering whether he will actually play the role that logically suits him.) The initial plot twist, which is given away in the trailer, is followed by a textbook story of redemption and second chances. The protagonist must first sink to the bottom in order to get back on his feet, find his inner balance and take on the antagonist. Partial successes in the sports storyline are dampened by failures in the relationship storyline (the estranged daughter) so that the protagonist still has something to contend with and the viewer is still “hooked”. Southpaw is different from the first Rocky only in that the rise of the boxer, who doesn’t fight for the heart of his beloved, but for his daughter’s trust, begins after he goes from riches to rags. It is not clear whether Sutter, who comes from a poor family, intended to say that real boxers don’t fight for fame, but for the love of the sport. Billy obviously does not plan to find contentment in training boys from the poor side of town for the rest of his life. The film is equally uncritical with respect to the self-destructive nature of fighting sports (not only in comparison with Raging Bull and the recent Foxcatcher). Thanks to the journalistically intrusive camerawork and Jake Gyllenhaal’s naturalistic acting, the matches are unpleasantly violent, but they mainly result in catharsis rather than pain. Or once a fighter, always a fighter. I fully understand and recognise the existence of such self-actualising and self-affirming melodramas, especially when they aren’t offensively stupid and there isn’t much to fault them for with respect to craftsmanship and narrative, but I also wonder what good another variation on the same theme and the same formula is in the long-term perspective other than to garner Oscar nominations for a few actors. Particularly in the case of the aloof Whitaker, who is starting to play similar personifications of old age and wisdom as Clint Eastwood (whose Million Dollar Baby offers a much less gratuitous plot twist), it wouldn’t bother me if it went no further than a nomination. Gyllenhaal sometimes tries too hard for an award. Just like the Southpaw itself. 60% (22.07.2015)