Southpaw

 

Controlling rage can be a challenge for anyone. For a boxer, uncontrolled rage can be devastating, professionally and personally. In Southpaw, a classic redemption movie, it is self-control that saves the day (along with boxing skill).

Billy Hope (Jake Gyllenhaal) is an undefeated light heavyweight champ who wins with sheer physicality fueled by anger. Because his style is more about strength than grace, he leaves himself open to opponent punches. Following a big win, wife Maureen (Rachel MacAdams) urges him to take a break. She fears he’ll become punch drunk.

Later, as Hope exits a charity event, he is taunted by up-and-coming boxer Miguel Escobar (Miguel Gomez). Maureen urges her man to keep moving but his rage takes over and the two boxers get into a scuffle. As the tussle escalates, someone pulls out a gun. A shot is fired, killing Maureen.

Things go downhill quickly. An angry Hope drives a car into a tree. In his return to the ring, he punches out a referee, leading to his suspension. The big money offers from promoters and HBO disappear. He loses his mansion, his cars and, most sadly, his daughter Leila (Oona Laurence).

Uncontrolled rage is the culprit again at the court hearing to decide whether his daughter becomes a ward of the state. He loses her.

Hope moves into an apartment in a seedy part of town and takes a job as a janitor at a small boxing gym run by Tick Wills (Forest Whitaker). As Hope begins to mentor the kids who frequent the gym, Wills develops a fondness for Hope. Following an unsanctioned exhibition, Hope gets a shot at a match versus Miguel Escobar.

With training and support from Wills, Hope steps into the ring with a different attitude. Hope plays defense as well as offense. If you’ve ever seen a sports movie, you can guess the outcome.

Gyllenhaal, who has been brilliant in recent films Nightcrawler and Prisoners, should be a strong contender for year-end awards for his work in Southpaw. This is a gritty performance filled with realistic fight sequences and injuries that look painful.

Southpaw is beautifully directed by Anthony Fuqua. A favorite shot is a POV shot snakes around a corner to show a physically and emotionally spent Hope sitting naked on a shower floor.

The movie is good. Gyllenhaal’s performance is the reason to see it.

The 10 Best Films of 2014

Birdman red Again this year, the 3 things that make a film great—a fresh story, indelible characters and clever story telling—have come together beautifully in several movies. Beyond those on my “Best Of” list are a few that simply made me feel good (which signifies a different kind of greatness). The Best of 2014:

  1. Birdman. Creativity unleashed. A fantastic story with a memorable lead character who elicits a variety of responses from his incredibly strong cast as well as from audience members. And what an ending! Excellent use of the film medium.
  2. Boyhood. Richard Linklater’s idea of telling the story of a young man growing up, using the same actor from start to finish, was risky. So many things could have gone wrong, but, based on what is on the screen, they mostly went right. Ellar Coltrane was a perfect choice for the lead role.
  3. The Grand Budapest Hotel. Wes Anderson’s masterpiece is zany, madcap, silly fun. Anderson’s attention to little details and inspired performances from a large cast of stars make this his best yet.
  4. Whiplash. The concept doesn’t sound that exciting: a music instructor who’s an abusive bully meets up with a cocky young drummer. But the story, the music and the over-the-top character that J.K. Simmons inhabits combine for a movie that sizzles.
  5. The Lego Movie. Filled with fun and surprises. This film doesn’t just use Lego pieces as characters, it captures the way kids use Legos. The live action postscript was a beautiful touch.
  6. Snowpiercer. Praise begins with love for the French guys who did the graphic novel. And to the publisher who chose to sell the book in Korea, where the director/co-writer discovered it. Strong multinational cast. Dystopian class warfare at its best.
  7. Gone Girl. Everything works here. Acting, directing, scriptwriting. The most meaningful soundtrack of the year. Gone Girl satisfies on so many levels. Thanks to (most) everybody who resisted spoiling.
  8. The Theory of Everything. A British genius tries to channel his immense brilliance into something useful, while dealing with a challenge that could torpedo his efforts. For Stephen Hawking, it’s ALS. Multiple Oscar noms on the way for this one.
  9. The Imitation Game. A British genius tries to channel his immense brilliance into something useful, while dealing with a challenge that could torpedo his efforts. For Alan Turing, it’s closeted homosexuality—a crime in the UK in the 40s. Cumberbatch shows again why he’s the “go to” guy for so many movie makers.
  10. Nightcrawler. Jake Gyllenhaal is, as they say, a revelation as a free-lance videographer who crawls throughout the underbelly of L.A. for sleazy TV news footage. His story is well-crafted and his performance is maybe his finest ever.

My “feel good” list for 2014:

  1. Guardians of the Galaxy. Characters, soundtrack, story, effects—wow!
  2. Chef. Beautiful food, wonderful music. And it gets social media right. Thank you, Jon Favreau!
  3. Big Hero 6. Appealed to my inner 12-year-old boy. I loved lovable robot Baymax and the film’s cool blending of U.S. and Japanese culture.
  4. St. Vincent. Bill Murray is loathsome, pathetic, hilarious, generous and sweet all in one movie. Good supporting cast, especially the kid.
  5. Get On Up. The James Brown biopic may have been too raw to be a big hit but it made me feel good. (I knew that it would.)
  6. Life Itself. The talented Mr. Ebert had a wonderful life.
  7. Glen Campbell: I’ll Be Me. I met Glen Campbell and am a longtime fan. His good humor in dealing with Alzheimer’s plus the love shown by all his family was what made me feel good.
  8. Edge Of Tomorrow. The structure of this movie, similar to Groundhog Day, could’ve come off as dumb. Happily, it’s clever and fun.
  9. Draft Day. As an NFL fan, I enjoyed the football parts of the movie. The flyover shots of the stadiums were beautiful.
  10. Into The Woods. Sondheim songs and a mighty cast. A pure delight.

Nightcrawler

 

TV news is a competitive business. Every station wants the big story. Some will pay good money to freelancers with video cameras for exclusive footage.

Lou Bloom (Jake Gyllenhaal) is an L.A. ne’er-do-well who wants to go legit. As Nightcrawler begins, he sells fence (chain link) to a fence (guy who buys stolen goods) and asks the buyer for a job. When Lou happens upon a news photog (Bill Paxton) shooting video to sell to TV, he decides to try it himself.

Lou finds a willing buyer in Nina (Rene Russo), a news director at an L.A. station whose ratings need help. Lou continues to bring graphic footage to her and the ratings inch upward. “If it bleeds, it leads” is a TV industry half-joke, one with more than a grain of truth behind it. In the battle to titillate news viewers, Nina keeps asking for shocking video.

As the checks roll in, Lou hires an assistant, Rick (Riz Ahmed). He buys a new, faster car. He gets better monitoring equipment to listen in on police calls.

Lou is a scheming pragmatist who aggressively woos Nina with logical arguments and, of course, exclusive video. His online research tells him that she has had trouble keeping a job and that she will soon be up for renewal. She needs him.

Lou boldly goes into places he shouldn’t to get juicy footage. Eventually he goes too far. But even when he oversteps, he continues to bring the goods to Nina and her news team. She has few boundaries regarding what she’ll put on air and Lou responds. Nightcrawler may exaggerate the lengths TV stations will go to lure viewers, but not by much.

Gyllenhaal’s Lou is a likeable charmer. He’s a bit smarmy, not far removed from Leave It To Beaver’s Eddie Haskell. Even though he does things that are wrong, it’s easy to root for him. He’s also funny—though not always intentionally.

After last year’s excellent performance as a detective in Prisoners, Gyllenhaal follows with a completely different character and another memorable role. At age 33, he has already amassed a respectable acting resume. As he moves into more mature roles, I look forward watching him grow into a major film star.

It’s good to see Rene Russo back onscreen. Except for the Thor movies, she’s been absent for the last decade. At age 60, she brings appropriate intensity to her role as Nina.

I’m happy to report that rookie director Dan Gilroy (he also wrote the script) did not make Nightcrawler to rip into the TV news biz for its love of crime and gore. He accepts that as a given. Instead he focuses on bringing this interesting character and his story to the screen. Good jobs, Dan and Jake!