Style over substance, vessel without soul. Fuqua's directing can be jarring and uninspiring, that coupled with the standard over the top Hollywood ADHD bullshit editing pace can annoy the fuck out of the viewer ... Gyllenhaal and Whitaker are the only decent things about it, every thing else falls flat and is so by the numbers. Go watch Creed instead... and after then T-Rex.
Fuqua's B-movie "Raging Bull," just as last year's "The Equalizer" was his B-movie "Taxi Driver." Rough, redemptive, cheesy, vividly made, entertaining. Typically transcendental work from Gyllenhaal, Whitaker and McAdams; young Oona Laurence really impresses, too. Interesting themes of mastering anger and anxiety in the ring make it more about spirit than strategy.
Southpaw’ basically a little drama with a boozed energy. Formulaic and cliché. But, while the motivational drama seems slightly hollow sometimes, it works best as family affair with fairly entertaining boxing scenes on its sleeve.
Fuqua seems to think he's making 'Raging Bull' but this film is much more in spirit with the bottom half of a 'B' movie double feature. In what must be the quickest title fight comeback ever the film loses any good will it had in its father/daughter drama. Having said that Jake Gyllenhaal, in another transformative performance, kills it here as does young Oona Laurence as his daughter. Scripting kills this effort.
The precedent set early on was promising - the dynamic between McAdams and Gyllenhaal was palpable. Both convincing method actors immersed in their roles. Whitaker also gives a sterling performance as the trainer. Fuqua (Training Day) knows how to maintain tension. Southpaw is formulaic but convincing in ticking boxes set by the cinematic predecessors: Rocky, Warrior, Million Dollar Baby and Raging Bull.
Nobody knew but we've got a Chinese movie on local cinemas- Southpaw was fully-backed by Wanda Pictures. I don't think the film is doing any big business (like Jurassic World), but go get that stealth foothold in Hollywood, China.
Jake Gyllenhaal explodes on screen in a variety of ways here; some are in low-key manners, most of which when his character is seeing his daughter, and others are when he's so filled with rage, guilt, anger, and sadness that he can barely stand up straight. A tantalizing performance in every sense, however, unlike "Nightcrawler," the film around him doesn't play the same kind of layered notes he does.