Southpaw

883 Words2 Pages

Southpaw is a really good film, an argument could even be made that it's a great film. However it is not a particullarly original film, following the same beats as any redemption arc before it. It's in the execution rather than in originality Southpaw proves itself worth watching. When I say Southpaw follows a familiar formula, I really do mean it. Southpaw hits every beat of a classic redemption arc. From utilising the inciting incident as a catalyst for the protaganists fall from grace to the introduction of a wise, older guide to act as a conduit for our hero to find his way again, Southpaw follows a familiar structure - it even features a training montage (everybody needs a montage). Southpaws staunch adherence to such a recognisable formula …show more content…

As we observe a headphoned Jake Gyllenhall preparing for a title defence, we only hear the diegetic sound of his music, serving to immerse the audience in a psuedo first person experience. Following this scene we witness the title fight in question, this is where the direction and production design of Southpaw is truly at a standout with Antione Fuqua's depiction of a bout appearing as though it was pulled straight from an HBO pay-per-view showing. Creative direction is present throughout Southpaw's 124 minute runtime, with standout sequences taking place in Tick Wills (Forest Whitaker) gym, as well as the household of the …show more content…

Jake Gyllenhall absolutely slays his role as boxer Billy Hope, his performance alone is reason enough to see this film. Gyllenhall provides a genuine, emotionally fuelled display, creating a character I was fully invested in throughout - one I felt every punch with, both physical and emotional. Gyllenhall's best moments are those when Hope is at his lowest, allowing him to show his range and effect the audience in moments of extreme emotion. Gyllenhall is truly a show stealer here, although Rachel McAdams and Forest Whitaker provide solid screen partners for the star. Whitaker is allowed a similar range of scenes as Gyllenhall, allowing him to stretch his metaphorical legs, and really show what he can do with a well written character. McAdam's on the other hand is somewhat limited in her role as the 'concerned wife', but does an admiral job and provides a decent foil for Gyllenhall to play off as the obvious chemistry between the pair helps to carry their scenes. The remainder of the main cast are less worthy of particular praise. Child actress Oona Laurence does well as Gyllenhall's daughter, providing big in the emotional set pieces but then appearing awkward in scenes of lesser importance. Whether these simpler scenes were not given the time or attention to extract a better performance from the young actress or believable dialogue is just not within her range

Open Document