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Reigning light-heavyweight boxing champion Billy 'The Great' Hope (Jake Gyllenhaal) has a loving wife (Rachel McAdams) and child and a promising career ahead of him. However, Billy finds himself in danger of losing all of that after tragedy strikes and he is declared unfit to look after his young daughter Leila (Oona Laurence). Having hit rock-bottom, Billy desperately tries to regain control of his life and win back custody of his little girl with the help of boxing trainer Titus 'Tick' Wills (Forest Whitaker). (Entertainment in Video)

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Reviews (11)

wooozie 

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English Southpaw is a movie that certainly doesn't brim with originality. You've seen the story many times in various forms, which is a typical pitfall of most sports movies. But when you get over classic cliches like "The more you get hit, the harder you fight.", etc., you are in for a pretty solid experience. Especially the fights are filmed very well, Gyllenhaal is his usual (above)standard self, and the movie goes by really fast. All in all, I was satisfied in the end. ()

Kaka 

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English It’s a more expensive and bloated Million Dollar Baby with the opposite sex in the lead role, and the injury, instead of physical, is psychological. Fuqua fits into the mainstream much more than Eastwood, so where Clint meticulously crafted scenes with slow piano, dull sounds of punches, and masterful camera capturing the gray gym, Fuqua goes for it with loud hip-hop and jerky editing. Maybe it might sound like a criticism, but it isn't. Fuqua has worked hard recently, found a good dramaturge, and although he still has a boring and ordinary screenwriter, both Equalizer and Southpaw naturally generate emotions in the viewer. And so I can confidently say that Southpaw is the director's most mature and complete film in every aspect since Training Day, and I can easily add a second parallel: a similarly expressive main character who carries the whole film on his shoulders as in the Oscar-winning hit, but this time it’s the trainer vs. apprentice. Forest Whitaker is undoubtedly the best character of the film, but Jake Gyllenhaal could win prestigious awards with his explicit acting and physically demanding role. Surprisingly, Southpaw is authentic, sincere, and raw enough through all its clichés, predictability, and simple narrative storytelling of dreams, falls, rises, and finding the right values, to entertain not only a simple consumer but also someone who wants a bit more from a film, is willing to overlook the classic drawbacks of big productions and get drawn into it. ()

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kaylin 

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English I simply enjoy boxing movies and I feel that it's difficult to make one that is truly bad. This one is not great, but it has great locations and you can see that Fuqua knows how to shoot a great scene, not only action-packed but also sporty. Some shots from the ring are just fantastic, even though in the emotional aspect, it's somewhat one-dimensional. ()

lamps 

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English Why does everybody give Southpaw three stars? Because it’s fine in terms of craftsmanship, it has quite a few emotionally tense moments, the ring scenes are very naturalistic thanks to the contact camerawork, and the two outstanding actors, Jake Gyllenhaal and Forest Whitaker, wring their talents to the last drop of sweat and blood. But why only three stars? Because nothing happens that we wouldn’t have expected in advance today (the only seemingly surprising twist is revealed in the distributor's blurb). After all, "fine in terms of craftsmanship" today is any project with such budget and cast, and then if we were to put this film’s level of emotion on some imaginary ring facing Warrior, the mentally unstable champion Billy Hope, his cliché-ridden sporting and moral reboot, and the routine Uncle Fugua would all walk away ignominiously defeated by a painful knockout. Good ol’ three stars… ;) ()

Othello 

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English I guess I haven't seen any boxing movies yet, but I was still able to guess which character would be in which type of shot TEN MINUTES IN ADVANCE! So, thanks a bunch, Kurt. It's more interesting to watch Fuqua being able to handle this assignment with alternating formal styles. The documentary "talking heads", zoomed in camera during big fights, changing the focus between multiple actors, the hand-held close-ups on faces and dark toning as the hero writhes at rock bottom, and then that quiet simple classic montage style of preparing for the climax. This actually subtly tells you what the film should have been about in the first place, because it seems to me that Hollywood is currently over-indulging in whiny whiny whiners, however much they're played by Oscar-chasing aces like Gyllenhaal. Which is actually kind of funny, because I think the little girl is outperforming everybody. ()

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