User reviews

Before I get to whether or not I liked this film, the history teacher in me thinks it's very important to set the record straight. Although the film is pretty accurate when it comes to the career of James Braddock, it's very inaccurate in portraying his opponent, Max Baer. The champion, Baer, is shown as a sadistic jerk who killed two men while boxing--and really delighted in taunting Braddock about this. In the film, the evil and filthy-mouthed Baer tells Braddock to bow out of the fight, as he could be the next to die in the ring--and he really seems to LIKE tormenting Braddock's wife about this. In reality, Baer killed one man in the ring. It was a horrible accident which occasionally happens in boxing--one which apparently haunted Baer for the rest of his life. In fact, he helped pay for his dead opponents to get educations and looked after this family--hardly the act of a sadist. I understand why the folks who made "Cinderella Man" changed this in an attempt to create tension, but the story would have STILL worked great if it had just stuck to the truth. Plus, think of how this film affected Baer's relatives when they saw it. Max Baer Jr. ('Jethro' from "The Beverly Hillbillies") knew his father was not like this and I am sure it pained him to see him so badly misrepresented.

As for the NON-Baer parts of the film, they are great. The look of the 1930s is exceptional--much more realistic than you often see in films. Also, the acting is terrific, the film VERY engaging and the story of Braddock very compelling. Without the misrepresentation of Baer's in the story, I would have given this one a 10. Really....it's that compelling and they did a great job. The acting, direction, designs...everything but the writing was perfect.

By the way, this isn't so much a complaint as an observation. In this movie, like practically EVERY other boxing movie, there is hardly any defense (such as blocked shots) in the boxing matches--punch after punch that lands on the opponent. If fights REALLY were like this, they'd rarely go beyond the first round!

"Cinderella Man" deserves to be placed alongside other great biographical films dealing with the lives and times of great boxers. Such films include "Raging Bull," "The Joe Louis Story," "Ali," "The Hurricane," and "Ring of Fire: The Emile Griffith Story."

These films share in common not just a documentary-like approach to boxing or a superficial biopic. They also portray the human side of a modern gladiator and the culture that produced him. In the case of "Cinderella Man," we are given a detailed and heart-rending portrait of the Great Depression in American. The story of the gentleman pugilist James J. Braddock is the backdrop to the larger drama of Americans' struggle in the 1930s.

Russell Crowe provides a brilliant interpretation of Braddock, capturing the decency of a man whose career as a boxer would appear to have peaked at just the wrong time prior to the Crash of 1929. After that momentous event, Braddock's boxing went into decline just like the lives of millions of Americans. The scenes of Braddock and his family living in squalid conditions and with uncertainty about such basics as heat and electricity were carefully developed in the film. Renée Zellweger was outstanding as Mae, the caring but feisty wife of Braddock. Paul Giamatti was also excellent as Braddock's handler-manager, Joe Gould. Joe tries to keep up appearances by sporting fancy clothes. But in one revealing scene in the film when we see the interior of Joe's ostensibly swanky apartment, there is no fancy furniture other than a dowdy table and some flimsy deck chairs. Everyone is reeling from the Depression. In the depiction of the massive unemployment, the "Hoovervilles" of the homeless residing in Central Park, and the desperate need for Americans for an optimistic icon like Braddock to raise their spirits, the film truly captured the tragedy of the Great American Depression.

The film's director Ron Howard emphasized close-ups throughout the film with uneven results. In many of the boxing sequences, the close-ups and rapid editing made it difficult tell the fighters apart. The close-ups continued even into the domestic scenes and the outdoor sequences depicting Braddock working as a longshoreman. The film's dark cinematography conveyed the bleakness of the Depression years, but it worked against bringing out the buoyant spirit of Braddock himself and the optimism that he instilled in others. As a director, Howard's strength is not in film artistry or technique. As apparent in this and other films, his gift lies in narrative storytelling and the development of dramatic character.

Indeed, the characters and the story were the strong points of "Cinderella Man." Much credit should go to Cliff Hollingsworth for a screenplay that included thoughtful dialogue, humor, and multi-dimensional characters. Daniel Orlandi also merits praise for the brilliant costumes that helped to recreate the period of the early 1930s.

But the heart of this film experience is Russell Crowe's screen portrayal of Braddock. It was the colorful sportswriter and raconteur Damon Runyan who coined the nickname of "Cinderella Man" for Braddock. However, the real James J. Braddock was more than lucky. It was his strength of character in and out of the ring that captivated America. One of the most moving scenes of the film was a heated argument between Braddock and his wife Mae where Braddock insists that even in the most difficult of times, he would refuse to be separated from his children. As a boxer, he was fearless. But he demonstrated even more courage in fighting for family values—a lesson from which we can learn a great deal today in reflecting on this sensitive film.

The dilemma: I hate boxing movies; I love Russell Crowe movies. I've already seen "Million Dollar Baby" and "Raging Bull" this year, and accidentally watched part of one of the "son of Rocky" serial movies on a Saturday afternoon. I feel like I am being punched, as Renee' Zellwegger's character Mae Braddock says, and I'm not as tough as these prize fighters.

But this one has Russell Crowe in it. And that makes all the difference.

It is not that Renee Zellwegger and Paul Giamatti, Paddy Considine, Bruce McGill and Craig Bierko, among others, give less than stellar performances: they all live up to their justifiably great reputations. You have to believe they are at the top of their game. But for all of Russell Crowe's reputation for being "difficult", it is hard to think of actors who can equal his personal force on the screen. He is brilliant.

Ron Howard has made of the real life of Depression-era prize-fighter James J. Braddock a work of art. The camera work is phenomenal. Without using violins or cliché' pull-back shots showing the numbers of people homeless and in soup lines, Howard makes the Depression a visceral reality with scenes of near-hopeless men at the docks, pleading for a day's work; a stolen salami; Crowe's giving his daughter his breakfast piece of bologna, telling her he dreamed he was full. The bleakness of the times is the graininess and the sepia/greyness of the camera shots; the images are stark but completely descriptive. Crowe as Braddock with hat in hand and tears in his eyes, begging for twenty dollars so he can get his children back into his home, is the personification of pride sacrificed to desperation. But when Braddock is later asked at a press conference why he is fighting at his age and after so many poor showings, all he has to say is "milk" to be supremely eloquent.

Doubtless many people know the history of James Braddock, and know the outcome of his fights, including the championship bout with Max Baer, who had already killed two men in the ring. If you don't know, DON'T look it up before you see the movie, and if you DO KNOW, DON'T TELL, but go. Analogous to watching Howard's film "Apollo 13", you may know the outcome, but there's wonderful suspense in the details. These were among the most exciting last twenty minutes I've seen on film. I didn't expect to be able to watch, but like Braddock's terrified wife Mae, I was unable to tear myself away.

The audience was like a prize fight audience, cheering, booing, gasping, groaning during the fights. We applauded Braddock's wins, suffered his defeats. It is a great movie, with authentic heart. Solid A.

My heart was firmly lodged in my throat for the last hour and a half of The Cinderella Man. Nobody does true-story heroism like Ron Howard, and few can do heroes like Russell Crowe. Though Howard fictionalizes his subjects, and does not pretend to make documentaries, he does accurately depict the feeling and the major points of his subjects.

Jim Braddock was a depression-era boxer who everybody thought was down for the count. Though there is a lot of boxing in this film, this is not a boxing movie, but rather his story and the story of the family that inspired him to fight back against prejudice and hopelessness, to rise to heights that would inspire a nation. Braddock is portrayed in a moving and powerful manner, with remarkable performances all around, one of the best scripts I can remember in recent years, and occasionally brutal action.

Those who have run into my reviews may note that this is one of my shortest. Please understand that I really don't think there's much to say about this simple, beautiful and very human story, besides - see it!

Geez, another boxing movie! Yeah, Yeah, I know the story. Down and out guy gets a break and makes the most of it. He's fighting for his family, he's fighting for all those other hopeless people. Been there, done that.

Oh, I forgot to mention one thing. This movie is about the best 140 minute I've spent in a movie theater since . . . . since . . . ., Oh, well, you get the picture. Better yet, instead of getting the picture, go see it.

Russell Crowe owns the character of James Braddock, the unlikely hero who makes the most of his second chance. He's a good fighter turned hack. Injury, bad luck and this thing called the Depression sends him down the drain.

His wife, Mae, played by Renee Zelleweger, wants to be his biggest fan, but the kids need a dad, the rent has to get paid and the money from boxing dried up along time ago. Her husband's courage is undoubted, but his nerve is killing her.

And then there's Joe Gould, played by Paul Giamatti.

A boxer by the name of George Cochan once told me his manager was the bravest man he ever knew, he was willing to pit his man (Cochan) against anyone. As a result, Cochan had his head handed to him multiple times by the likes of Jake LaMotta and other class middle weights of the Forties and Fifties. Gould, is that brave manager, if not literally, in spirit. He pits Braddock, out of shape and with one day notice, against the number two heavy weight contender. Regardless of the risk, it's a pay day needed by both Gould and Braddock.

The story, while familiar, is executed brilliantly. The camera work is both subtle and, in turn, spectacular. Craig Bierko, Paddy Considine, Bruce McGill and the rest of the cast give flawless performances.

Yes, been there, done that! And I'm ready to do it again for anyone who wants to go with me.

This is a truly great film. Russel Crowe, Rene Zellweger and Paul Giametti were all fabulous. Russell Crowe is the best actor of our time. I am not a boxing fan, but I was so engrossed by the character of the Cinderalla Man that I was totally involved in every punch. I didn't know how the story would end, so I had the added thrill of suspense during the final fight.

The story of a family in the midst of the Great Depression was as compelling as the boxing story. The solid family man played by Russell gives us a much needed role model. The historical and socio-economic background was powerfully shown and greatly added to the audience's involvement and is particularly relevant to today. This is a classic film.

Truly inspiring story of James J. Braddock. This story is about more than boxing. It is about a man and his wife trying to raise a family in the tough times of the 1920s. And the integrity and example he shows his children in those times. Russell Crowe, Renee Zellweger and Paul Giamatti are just part of this incredible cast. It is a must see.

Cinderella Man is the story of a Depression-era boxer and American hero Jim Braddock, but it contains enough love interest, family interest, and great-champion-of-the-people interest to satisfy most Saturday night out filmgoers. It's a total no-brainer, beautifully served up, and all the clichés delivered with such accurate emotional punch that you forgive it for being a tad unoriginal.

Gladiator and bar-brawl man Russell Crowe plays the lead role and Renée Zellweger puts in a good performance as the ideal and very loving wife that supports her husband through thick and thin. The story starts in 1928 when Braddock is doing quite well, but the depression hits and, with an injured hand, he is forced to work in the shipyard. He and his family live in fairly abject poverty until a lucky break enables him to make a comeback.

This is the working man's hero who never says a bad word, teaches his kids never to steal for food even when they are starving, and nobly gives back his social security money the minute he can afford to. Zellwegger is similarly faultless of course, striking the right balance between supportiveness and concern that her man could get his brains knocked out permanently. The last fight generates quite a lot of genuine excitement due largely to neat editing and intense cinematography - you can almost feel your nose bleed just watching it.

This is classic American-style hero creation and worship and, on the face of it, healthy enough. So why the doubts? Sure you can sit back and just enjoy it, it's the type of story the U.S. has done well for a long time; but compare it with European cinema and it all seems very full of absolutes. The heroes don't have any failings. The choice is between total success and total failure, no half measures. Much as I admire the use of role models, I somehow wonder if more human heroes aren't sometimes called for, people who do quite well, who sincerely better themselves and others, but without becoming the most applauded individual on the continent. In watching the big picture we sometimes miss the detail that makes life real to everyone, not just the lucky few.

If the great depression of the 1930s is a mystery to you, then Cinderella Man can fix that. The story, about the ups and downs in the career of a boxer, is uplifting and entertaining. However, what makes this film more than that is its believable depiction of the great depression.

The sets look similar to pictures I have seen in books I read about the depression, and the costumes are correct. But this is not just a "period piece." The behavior of everyone in the cast, and every extra, shows dedication to reproducing the gestures and attitudes I have observed in people I have personally known who lived through the depression.

Take, for example, the scene at the dock where Braddock, the boxer, waits with dozens of other men for the chance to work a stevedore job for the day. "We need ten," shouts the boss. Then he points, and counts. Every eye is trying to meet his, trying to be picked. Not a gesture is out of place.

This kind of verisimilitude comes only from fanatics for accuracy. Look at drector Ron Howard and male lead Russell Crowe. Ron Howard also directed Cocoon, Willow, and -- for the Academy Award for Best Director and the Academy Award for Best Picture -- A Beautiful Mind, which also starred Crowe. He drove the set designers, the costumers, the cast, and the extras, with telling effect. Nothing is over-acted.

Crowe trained for the film using the same, low-tech methods used in boxing in the 1930s. He also studied film footage of Braddock to master the real fighter's characteristic gestures. In the ring, said one of Crowe's trainers, he successfully duplicated Braddock's moves, his footwork, and his style.

The boxing drives the story along. It is bloody, fierce boxing. Some people may find the fight scenes objectionably violent. Crowe broke his hand in training. Real fighters played most of his opponents. Sometimes they forgot they were supposed to fake punches, leading to the spilling of real blood, which was left in the final version. Crowe also landed a few real punches by mistake.

The boxing, however, is overshadowed by life during the depression. Millions were out of work. Milk was delivered in bottles, by a milk man. People left their empty milk bottles out at night so the milk man could collect them early the next morning, and replace them with full bottles. When the dairy could no longer extend a family's credit, the empty bottles were still there in the morning with a note of apology stuck in the mouth of one of them.

During the depression, there was no unemployment insurance, no Medicaid, and no Social Security. There was the dole, but it was new, humiliating, and under funded. You cold not get enough to keep your family fed and clothed.

Braddock is shown waiting for and getting his dole, another moving scene in which everyone is stoically in character. The film also accurately depicts the huge gap that opened between the masses of the poor, and the few, fabulously wealthy.

This is a very entertaining film. However, if you are just beginning to study the great depression, it can be a a great head start.

This movie is really charming and enjoyable. But it totally misrepresents Baer. Consider two facts:

-Baer killed one guy, not two. He was haunted by this for the rest of his life and paid for his victim's children's education.

-Baer, though a Catholic, wore a Star of David to show solidarity with the the Jews during his fight with Max Schmeling, who he beat much to the Nazi's annoyance.

(for more, see: http://en.wikipedia.org/wiki/Max_Baer )

I don't think it was necessary to wrongfully represent Baer to sell Braddock as a hero.

I also went to a sneak preview of this movie last night, and it was good enough for me to join this site and write my first review. It did start out kind of slow, but the complete rainbow of emotions was contained in this movie. There were parts that nearly made you cry. There were parts that made you laugh out loud. I could barely contain my excitement during the last 15-20 minutes of the movie, I just wanted to scream out loud I was so excited. When we left the theater there was a ~60 year old woman delicately shadow boxing on her way out the door. Her husband asked her, "Are you winning?" She said, "I'm going to have dreams about this movie tonight." This was a great movie, and I would recommend it highly.

Its about the depression era in US when a veteran boxer has to fight again to feed his family. He had seen good days but depression took everything.He fights again to win matches and its about survival this time not entertainment.He got to keep standing till the end (in the ring) to buy heating n food fr his children because he had promised them that he wont be sending them away...n even when he is famous n reporters crowd around him asking how he felt he was humble enough to reply 'i was doing it to buy milk'....its a real story n a touching one. Its names so because he was called Cinderella man as he was a ray of hope fr all the others struggling through the depressions to try n make ends meet...

In Cinderella Man Max Baer Sr. was portrayed in a way that is very inaccurate to his real character. He was portrayed as a cruel and vicious boxer, and not someone who felt sad at Campbell's death. In real life Baer was deeply remorseful about killing an opponent in the ring and supported the man's widow and children even putting the man's children through college. Thus Max Baer Jr,. was deeply upset with Ron Howard portraying his dad as a cold-hearted thug rather than the gentleman he was. Thus Jethro is not too happy with Opie.

This is the best film Ron Howard has ever done. They really caught lightning in a bottle with this one. All the departments brought their A game to the table. I especially loved the editing and cinematography.

The cast is perfect and, under Ron Howard's confident hand, all give amazing performances. Russel Crowe's soulful performance puts him back in Maximus territory here and, boy, was this cat born to play these types of roles. Bruce McGill is in it (San Antonio, represent!!!) and that's always a good thing.

My only complaint (if it can be called that) is that the boxing sequences break no new ground. They are very reminiscent of the boxing sequences in Raging Bull. They are so well executed, however, that I quickly forgot about this small nitpick.

The script works on so many levels, it's not even funny. There is plenty of time devoted to character development and it pays off handsomely in the long run as we really care about Jim Braddock every time he steps in the ring.

All in all, Cinderella Man is a rousing, classy film that utterly satisfies.

Just saw a preview of this film (opens June 3) and as shamelessly emotional as it is, I liked it very much. It provides a more visceral view of the Great Depression era than did another fine film, Seabiscuit. Call it Seabiscuit with even more heart!

Ron Howard teams with Russell Crowe (James J. Braddock) again and shows they can repeat with a winner. Like him as a person or not, Crowe puts forth another finely tuned, very convincing performance. Unlike in real life, he can be quite humble and sympathetic while beating the heck out of people. Really, his character is affecting, especially in his scenes with Braddock's children, and may be fairly reflective of the actual person of Braddock. (The fight game at that time, or any time, was not for saints but, whatever.) Renee Zellweger, who is not my favorite except for a brilliant portrayal in Cold Mountain, plays the wife effectively and mirrors the emotions for the females in the audience. (If my observations at the showing are typical, women fans will spend time alternately heading their eyes and virtually cheering out loud for Braddock/Crowe.)

There are a number of good supporting actors but Paul Giamatti strikes again! He plays the manager who supports Braddock through thick and thin and his character recalls the era better than anyone in the film. I don't know what kind of research he did for this role but his Joe Gould is the archetypal boxing manager of the time or, at least, our cinema image of one. Here's hoping he pulled some big bucks for a role for once.

(You will certainly recognize Bruce McGill, as the seemingly hard-hearted fight promoter who could care less about Braddock but really doesn't want to see him get killed in the ring, from many movie and TV appearances where he is always reliable and who may be remembered from an early exposure as "D-Day" in Animal House.)

We went to this movie today at Albuquerque, New Mexico. My first impression upon looking at the title was "sounds kinda girly movie". I have no idea who Jim Braddock is until I saw this movie. Its truly inspiring and amazing. All actors excelled in their action. Its gripping all the way till the end. I don't want to tell the story and spoil the spirit. It was never boring the entire movie.

Russell Crowe once again lived up to the expectations and did a very good job. Renee Zellweger played the role of a very supportive wife. Its about never giving up, fulfilling for your promises, staying together what may come, to fight back etc., Watch it and you won't regret I promise.

With Ron Howard directing and Russell Crowe, Renee Zellweger, and Paul Giamatti starring, Cinderella Man was sure to be a worthwhile cinematic experience, if only it hadn't been released in the unsuitable summer months of blockbuster fever. It didn't help that previous DreamWorks summer hit Seabiscuit starred a horse (and was more emotionally uplifting without being too violent or predictable), or that Cinderella Man was preceded by last year's Oscar winner Million Dollar Baby or the lackluster NBC reality series The Contender. But even when taken out of context, Cinderella Man is a fine, elaborately and accurately produced (if minimalistic) Depression-era boxing-pic love story that simply doesn't go where no great movie hasn't gone before.

Crowe, as always, gave a studied performance that reflected his involved physical and mental preparation, not to mention his accent! Zellweger, I thought, was the most underrated of the bunch because she really held her own opposite Crowe, stealing many of his scenes as the heart-tugging emotional core of the story. Giamatti's supporting perf should earn him his first (and overdue) Oscar nomination, since it was a fun, snarky kind of role infused with vigor and heart - great for a character actor. Otherwise, though, Ron Howard's direction might have made an already unoriginal subject matter more predictable. Still, it was, without a doubt, a good movie, if not a great one - a film that was well-made, if neither innovative nor emotionally sweeping.

Now I know Russell Crowe may be a jerk in reality, but he clearly knows his stuff on screen so we can move past that. As a buff, bare-chested Gladiator-hero with a big ol' softie heart for his family, we love him in this film. It is set during the depression in the 1930s New York. The fact that he isn't fighting for glory but for for survival immediately makes his struggle much more poignant, and Ron Howard's Cinderella Man (2005) rides on this advantage throughout – this desperate depression time that drives a man to desperate measures.

I think boxing is a truly inhumane sport. It shouldn't even qualify as a sport; it's two people inflicting maximum damage on each other. But Jim Bradock (that's Russell Crowe)'s fighting is something different – this isn't something he does for fun. In the beginning, after having lost a boxing match, a sponsor-person tells him "Go home to your kids, Bradock" to which Braddock replies, "Go home? Go home with what?" He needs to do it and it is apparent in the fighting.

So in spite of my dislike for boxing, I have to credit this film for its dynamic, fast-paced and realistic games that even surpass those of Million Dollar Baby (2004). It's pretty damn exciting. Another plus for this film that elevates it above generic sports-movie formula is its setting. The murky, barren feel of the Depression invests the scenes in a kind of simplicity that is only ever present in Dogme 95. It places the environment in the backseat, with minimal visuals flair to detract, to make room for its realistic characters that consume the film.

Ultimately, The Cinderella Man is a well-crafted and often entertaining film but it is extremely standard, safe, predictable, logical, been-there-done-that – there are no puzzling detours, twists, or unusual character developments. Sure, it is grounded as a reality-based biography but there is NO flair. Another director could have had more fun with the script. You've seen it all before, the build-up to that one final fight with the most ferocious and feared boxer, the wife's concern, not following the coach's instructions, the favouring crowd.

Lastly, I have one more complaint: Cinderella Man could easily have been at least 40 minutes shorter. Not because it dawdled exactly, but by concentrating the key scenes into a shorter version, it would have been even more poignant.

7/10

Great movie. Crowe is in for another Oscar. Coming close on the heels of million dollar baby and surviving is massive. Comparisons would be obvious but it stands apart as one of the boxing great movies though at times moving but great performances by Crowe and Renee. The movie may not be a top contender for an Oscar but Crowe and Renee sure are. A lot of people have filled in a lot of details so I guess I won't go there. But I particularly like that scene when Braddock is to fight Max and they meet in the hotel and later Mae is shown cleaning the dishes. Very true depiction of the era. Money's worth by all means though some scenes are very graphic and could have been avoided but I guess Crowe (or his directors) like gore just as in gladiator. The fight with Max is very well shown like history being retold. Roles like this come once in a career and Renee has given a winning punch. Lets see if the Oscar pundits agree.

Perhaps I had a bad day yesterday before I sat down to watch "Cinderella Man", but let me try to convince you why I did not really like this film a lot.

I wanted to love this film. I tried to really get into the Depression-era feel and the "feel-good-everyman" riches-to-rags to riches story of Jimmy Braddock, the underdog-cum-heavyweight-champion who outlasted a younger, more deadly Max Baer in 1935. This film is perhaps is the most historically realistic and visually stunning film that Ron Howard has ever directed. It may also be the most ambitious film that Brian Grazer and Penny Marshall have ever been involved in, including Marshall's "A League of Their Own"). "Cinderella Man" has every stylistic element in the book going for it. Production design, costuming, set design, general casting, art direction, and music was created by the likes of people who made "Chicago", "A Beautiful Mind" (which I call "A Beautiful Lie", and if I have time one day I will write about why I call it that)","Apollo 13","Do the Right Thing", and countless other great movies. This film has more heavyweight talent backing it up than Mohammed Ali every carried into a boxing ring during the height of his career. This film has the painted-portrait ambiance of Depression Era New York City.

What could possibly be wrong with "Cinderella Man"?

For me, the real problem is that I have seen this kind of movie too many times before. Remove Sylvester Stallone's self-effacing "bad-side-of-the-tracks" Italian untermensch and insert Russell Crowe with his well-practiced but overly-understated Jersey accent and you have "Rocky I". Replace Rene Zellweger's half-Betty-Boop, half-horrible-imitation-of-Cyndi-Lauper rendition of Braddock's wife, Mae with Talia Shire, and you have Rocky's wife Adrienne from that same film. Paul Giamatti, who plays Braddock's manager, must have imitated every bad 1930's and 1940's formula picture actor to smooth out the stilted and wisecracking dialog he is given in this film. Let's also just be frank. Brain Grazer was one of the people responsible for the remake of "Psycho" which should, by law, prevent him from ever making another film in his life, if justice were truly blind. This film, basically, was made by a group of recyclers. This film is the equivalent of an EPA "Super Fund" project for cinematographers.

In short, just about everything in "Cinderella Man" is too perfect. It is the same thing we get from Ron Howard every time (with the possible exception of "Apollo 13"). It's the same old substance-less sentimentality wrapped up in a lovely cinematic package that we got in Cocoon, Splash, Far and Away, Willow, and countless other Howard projects.

The real imperfections come from the extended length of the film, the predictable dialog, and the severe over-emoting of Renee Zellweger's Mae Braddock character at the end of the film. I am almost certain Ron Howard studied "Rocky II" a little too long when he copied the feel of the Stallone sequel for the last portion of this film. I also honestly believe the casting crew could have hired Cyndi Lauper for a lot less and gotten a better performance from her than they got from Ms. Zellweger in this movie. At least Ms. Lauper came from the same neighborhood upon which this film was based. She could even have been made up to look younger. Ms. Lauper also wouldn't have had to fake the Jersey smirk that Ms. Zellweger had to practice for months prior to doing this film.

I am also tired of seeing Clint Howard, who still looks too young for his age, in any movie, let alone trying to portray a character much older than his age. Perhaps, when Ron Howard dies and no one else will hire him to act, he can write that New York Times Best Seller "I Was Opie's Brother". Until then, we will have to continue to endure his presence. (If you want to see Clint Howard in something truly funny, watch "Evilspeak", which is perhaps one of the worst horror films ever made).

The politically correct will also likely be angry at the casting and make-up job of Craig Bierko as Max Baer, as well as his portrayal as a violent villain. This will be the second film in which Russell Crowe has been cast either as a character with supposed anti-Semitic views (John Nash) or opposing someone who supported Jewish causes like Baer (even though ethnically questionable to some). I have read that the Star of David was minimized on Baer's trunks to minimize any racial or religious association with Baer's trumped-up villainy in this film. Baer was more clown than villain in real life and was horribly shaken up by the deaths in the ring that he caused. And let's not forget, he was Jethro Bodine's (Max Baer, Junior's) dad. He could only be so mean, if you catch my drift.

In the final analysis, we get what we always get from Ron Howard. We get the feel of eating fine prime rib when in reality we are simply sucking on dry cardboard. He has built one more fantastic cacophony of sound and fury, signifying nothing.

This will be a wonderful film to rent at home, but I would save my money and not see this one in the theater. It will no doubt do well and I am certain the DVD will go into production very shortly after the film's theater run and will also be successful.

I just think there are better films out there somewhere worth dodging commuter traffic to see on the big screen.

Wow, this was an involving story and the best boxing movie I think I've ever seen, and I've seen most of them.

It's an old-fashioned underdog rags-to-riches sports story about a very likable hero, heavyweight boxer James J. Braddock, played fantastically by Russell Crowe. This is another "Seabiscuit," meaning a true-life tale of longshot going up against extraordinary odds.

More than the boxing, however, this is a great family story of a devoted husband and father and a loving, supporting wife and mother. That's the crux of this biography, more than the boxing angle. Nothing but the highest of morals and ethics are espoused by our hero here, who would starve himself rather see his children miss a meal, while teaching his kids honesty and unselfishness and doing whatever it took to take care of his family. Renee Zellweger also shines as Braddock's wife. After a string of some sleazy roles, it's nice to see Zellweger play this type of character. The two make an inspiring couple which is refreshing to see in this age of cynical film-making. This is another reason why I label this an old-fashioned story. The primary subject's strengths, not flaws, are emphasized.

Is it exaggerated? Probably, but I have no complaints seeing a good guy look better instead of worse. One gets tired of the modern-day age of the "anti-hero." It's nice once again to see a good man propped up instead of shot down.

The third major character in the film is "Joe Gould" (Paul Giamatti), Braddock's trainer and loyal friend. Unfortunately, he spits out the Lord's name in vain so many times I lost count, the only objectionable aspect of this film. But Gould was the kind of friend every guy would want.

Craig Bierko gets fourth billing as Max Baer, the reigning heavyweight champ whom Braddock has to beat to get the title. Now here is where I would not be surprised if his movie character was nothing like real life because Hollywood has to have a "bad guy" to counteract the "good guy" so here it is Baer, the last obstacle in the way of Braddock's quest to be heavyweight champion. Whatever the real Baer was like I don''t know but I know Bierko does a great job in this role.

The boxing scenes, supervised by real-life Hall Of Fame trainer Angelo Dundee, are lifelike and well-done. Crowe did a wonderful job of imitating Braddock's ring style.

The story isn't the only thing that is entertaining. Visually, this is a wonderful treat for your eyes. It's simply beautiful and director Ron Howard really excelled in capturing the 1930s Depression era with some beautifully muted colors. The sets are fantastic and the clothing, cars, buildings, etc put you smack in the middle of the 1930s. There are great production values in this film and the DVD does it all justice with a fabulous transfer on widescreen DVD.