Fighting Tommy Riley

To be honest, I came in at the middle of this film. but the part I didn't come into was pretty good.

I really have to see the entire film to really give an honest opinion.

There are so many different reviews on this site - it's just crazy.

Tommy seemed to me to be jealous of the old man working with other boxers, so I don't know.

I really need to see the beginning of this film to truly understand the core of their relationship.

I did, however, feel that Tommy did love this man who was his trainer, but in today's world - of course - this type of love is taboo, which is really stupid.

I saw the world premier of Fighting Tommy Riley at the LA Film Festival on Sunday June 20th. This is a really really good film. Eddie Jones (Marty) gives a beautifully layered performance that moved me to tears at points. Diane Tayler's "Diane Stone" gave a spark to the film. I only wish I had seen more of here character and that the relationship that she and Marty had developed more. J P Davis was good also. This film in many ways has a familiar story but it is told in a different way. I was not expecting to like a film set in the boxing world so much but this film is about love and the ties that bind us. I hope that this film gets distribution because it is a great film with some really good performances.

Just saw this on DVD, still buzzing, forgive me if I gush a bit... AMAZING film, imo. Great fan of boxing flix, which is why I picked this up. But this is really not about boxing at all; the boxing part is just a great and compelling metaphor for the get-back-up-and-keep-on-keeping-on thing, could have been anything that justified getting these characters together in such an intense way, so it worked fine, but it's just the setting; the story is the relationship, the histories, the gifts, the consequences, the layers... totally smokes Million$Baby, I think, in so many ways. Great performances, fascinating cinematography/art-direction, like great book illustration, often, esp. in the beginning, gut-wrenchingly moving... See it!

Fighting Tommy Riley is simply one of the best Indie films I've seen. It had me glued to the screen within ten minutes. J.P. Davis is a multi-talented man. In addition to playing the title character, he wrote the screenplay and produced the movie as well. And he can act! On the surface he looks like an underwear model, like so many up and coming 20's actors, but this guy has a complete emotional vocabulary. Mainstream Hollywood should be at his doorstep. He completely inhabits Tommy Riley in a way that very few actors with the right "look" could ever hope to achieve. Casting veteran actor Eddie Jones was a coup. Jones meets Davis's intensity on every level and the two of them create a complicated and wonderful rapport. Jones, in fact, is heart breaking; a character that so often slumps into empty sentimentality is rendered with honest reality.

The film is directed superbly. The story is told clearly and directly. The gay subtext of trainer lusting after fighter is handled frankly, sincerely and with a bittersweet truth. It exposes a sad case in our society, straight or gay, that older people are denied physical love at every level.

This is a far more engrossing film than Hollywood hype favorites Cinderella Man and Million Dollar Baby. Director O'Flaherty has more talent in his pinkie than does Ron Howard and Clint Eastwood in their collective big buck bodies.

What is it with Great White Hope stories? And why do so many of them have to be Irish? Fighting Tommy Riley was an attempt at a boxing film with heart. That was the first mistake. The second mistake was naming it "Fighting Tommy Riley". This whole subject is tired and hackneyed. The element of succeeding against odds is a worthy principle, but there must be a better way to do it instead of yet another "Irish" boxing story.

The story is set in LA (I think) - how many Irish boxers are there here? Why couldn't the story have been about 'Fighting Juan Gonzalez' or 'Battling Hector Lopez'? At least then there would have been an element of authenticity. I guess it just doesn't have the same ring. So we're treated to an ahistorical account of Tommy Riley and his fabulous boxing skills with no accounting for his prowess or prominently displayed physique.

After being found at a local gym by an agent and a washed up trainer and now high-school teacher with a penchant for quoting Melville, Tommy agrees to be trained by the rotund Marty. Why and how Marty is such an expert is glossed over yet Tommy accepts his wisdom and becomes his disciple. Unfortunately, it seems that Marty's weakness is not limited to self-discipline at the donut shop. His self-loathing is evident in the debris littered around his living room: empty Chinese food boxes, donut crumbs, sleeping pills...

The film tries to create a bond between trainer and boxer, as all boxing films do. But Tommy has no past; at least, we don't get much insight into his past. And yet he seems troubled. He has a very attractive girlfriend, who occasionally deigns to reprimand him for "not opening up" and "not knowing where she stands." Poor Tommy grinds out his days on the loading dock and his nights at the gym. So Marty becomes the father figure, and a jealous one at that. But he does get Tommy some fights and victories.

When Marty offers to cook for Tommy, you can sense that something is not quite right in his intentions. This is fairly early in the film, yet I found myself wishing the inevitable would not happen. Marty's "protective" instincts for Tommy lead them to an isolated cabin in the woods for a week-long training session. Ah yes, father and son, bonding in the woods: sparring, shadow boxing, rubdowns, quivering hands, and... The ride back to LA is quiet.

Tommy's wins in the ring attract the attention of a promoter with self-aggrandizing intentions (as usual). But he can get Tommy a title shot. On the condition that Marty is removed from the picture. The wholesome and principled Tommy will indignantly have none of that, but after a ride in a limo with his chick, the writing is on the wall. Marty slumps home to beat himself up and hit the bottle. Of sleeping pills.

Ultimately Marty's sacrifice was for Tommy's gain, a not-unmoving theme. But for weak dialog and one-dimensional characters, "Tommy Riley" might have had a shot. For me, the boxing film (Irish or not)needs to be grittier, the way Rocky Balboa started out in a Philadelphia Catholic hall. Otherwise, the whole theme can hung up like a pair of worn-out Everlast gloves.