Southpaw

'A fighter only knows one way to work'

Though admittedly there are some boxing film cliches to be had in Gylenhall's latest film venture (which he has clearly bulked up for) there is undoubtedly some emotive and very moving content- that I'm not too willing to admit, had me in tears on occasion.

Having been persuaded to watch this film as opposed to others, whilst in New York, I was somewhat apprehensive as boxing/sporting narratives are not necessarily my first choice.

However, I was not disappointed. Rachel McAdams (Maureen) and Jake Gyllenhaal (Billy Hope) portray a relationship, and marriage, many would be envious of- as individuals raised by the state (again slightly cliche) they are portrayed as a couple with only each another in the world, and a daughter whom they adore.

Through the time in which Maureen (McAdams) is present you cannot help but be absorbed into the chemistry of this small family and the very obvious love there is between the three; the cynic may say the portrayal of this married couple is cheesy and staged, but on the contrary I would say very endearing. This all in all could possibly lead potential viewers to be 'fictionally heartbroken' (and if you're anything like me- tearful) at the preventable, but nonetheless tragic loss of Hope's wife. The tragedy does not end there and Gyllenhaal's grief and  heartbreak is exhibited masterfully- expected from an actor of his calibre- as his family is torn apart by social services.

As expected there are many fight scenes, with the occasional slow motion upper cut, and obligatory hip hop infused training montages that fill a fair amount of the film, unsurprising given the genre. Some of these fights are quite brutal, which for the ever so slightly squeamish (myself included) may be a tad difficult to watch- particularly for those who are not fans of bloodied, and bruised eye sockets.

Throughout the film money and greed are represented as the driver for many in the vacuous world of 'showbiz', and is an ever so subtle reminder that people around you at your highest point are not always present for your fall- again a convention of many sporting films. It also leads one to ponder on the idea that celebrities lives are commonly amusement and entertainment for the public, even when these people experience tragedy. 

Though generally my review of Southpaw is positive overall, there were some corners cut in the the latter half of this film, particularly with a 'inner city teen' named Hoppy- poverty stricken, black teen with an abusive father. Though another stock, cliche character in such films, his miniscule part in the plot leaves audience wanting to know more, an opportunity I believe missed by the writer.

Ultimately Gyllenhaal makes for a sympathetic character and the audience wants him to win.The generic formula of rise to fall, then intense struggle to once again rising is of course expected from a film of this genre, though this made it no less emotive. The support of Forrest Whitaker and Oona Laurence (Leila, Billy's daughter) carries the film in an engaging way to its predictable, but pleasing conclusion. 

Final verdict: 3.5 out of 5

Fury

'A heart- wrenching portrayal of the emotional, physical and mental struggle one would assume war would inflict upon those on the frontline.'

Fury is not necessarily the testosterone filled war epic one may be expecting, it may be viewed as rather lengthy and rather slow paced for anyone expecting a blood-spattering Nazi killing fest. Having said that, the violence is at times graphic and would fulfil most people's craving for a bit of war gore- particularly the opening scene of an agile, animalistic Pitt penetrating a Nazi’s skull with a knife. Along with flesh piercing bullet scenes aplenty.

The, blue eyed, golden locked and very much romanticised image of Brad Pitt seems a thing of the past. Similar to many of his more recent film ventures, he is a mature lead, which results in our focus being sturdily on his ability to take the lead of this film, and of his men, as this stern, resilient yet emotionally distraught ‘Wardaddy'.

Another surprise, and a pleasant one at that, was Shia LeBeouf’s desperately troubled, verse preaching character; Boyd ‘Bible’ Swan. LaBeouf proves well his acting talent is not simply limited to the humorous pre- adolescent- a role in which he has most certainly been restricted to in the past. Though one may argue he does not have a hugely significant role within the narrative, his constant emotional state clearly conveys the mental and physical trauma war can ultimately inflict upon an individual, whilst his constant recital of scripture exhibits the desperate clasp he has on his beliefs- even if his actions and what he has seen in these gruelling years wholly contradict these preached words of the Lord.

Some violence undoubtedly bothered me, and made me significantly jump, however I'm not a lover of violence and have no vampiric desire to see, or be exposed to blood- this of course my personal preference. 

The narrative however lacks any presence of oestrogen,the short but somewhat uncomfortable scenes involving two individuals of the opposite sex would be unnerving for many to watch. The scene very subtly touches upon the potential abuse of power that many may, could or would inflict upon those inferior- the victims of war.

One of the most significant roles of the film is held by the tank itself...within the claustrophobic constraints of the walls the audience is exposed to their 'home'- walls decorated with photos, trinkets from home and stashes of alcohol. However, we gradually see that even the walls, that block them from the ever- engulfing poison of war, cannot provide any solace from the horrors outside; or provide them with an emotional bridge to life before war. Within this tank the significance of their friendship, and bonds between human beings, contradicts the inhumanity beyond Fury's walls. 

We see this unimaginable struggle to adjust to the impending violence and horror war inevitably brings, very empathetically, through Logan Lerman's presence as the young protagonist.  His emotional journey from typist of '60 words per minute' to war hero is most certainly a struggle, and one that consumes you with fear and doubt of whether or not duty and bravery can truly overcome such incomprehensible despair.

Fury is very much a  heart- wrenching portrayal of the emotional, physical and mental struggle one would assume war would inflict upon those on the frontline, it is unequivocally less patriotic than one would expect from a war 'blockbuster', and seems like a more realistic portrayal of the damage that can be done, but also makes evident the bonds that can be made between men.

'Ideals are peaceful, history is violent'

Final Verdict: 4 out of 5