‘Uppercut’ Review: Big Apple-Set Remake of German Boxing Drama Gets Lost in Translation

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The American adaptation of “Uppercut,” originally titled “Leberhaken” or “Liver Punch” in German, by Torsten Reuther, encounters challenges when translating content from one cultural context to another. Unlike other adaptations, the transformation seems particularly clumsy, especially considering that this film is an underdog sports drama, a genre not typically associated with stagey performances. The difficulties are amplified by Reuther’s apparent lack of proficiency in English dialogue and the puzzling decision to bring back a lead actor who struggles even more in a foreign language. Lionsgate plans to release this sincere yet unconvincing film in select U.S. theaters and digital platforms on February 28.

This story might bring to mind other films about female boxers, such as “Million Dollar Baby” and “The Fire Inside.” However, it primarily focuses on the early stages of these narratives, where an eager and persistent young woman seeks training from an initially uninterested veteran coach. The majority of the plot revolves around this lengthy tryout, although flash-forwards to eight years later are also included, showing our boxing protagonist as a manager for a male fighter preparing for a significant match.

In this latest instalment, the former champion being courted for his wisdom is the grizzled and grumpy Elliott, taking over from the earlier film’s Hardy Daniel Kreuger, played by Ving Rhames. The potential protege, Toni, continues to be portrayed by Luise Grossman, now credited as Luiii. If this new name is intended to boost the actress’s street credibility, it fails to do so here, just like many other aspects of the film — we don’t find her convincing when she tries to embody New York City swagger by admiring hip-hop dancers or grabbing a slice of pizza. (It should be noted that “Uppercut” was primarily filmed in Los Angeles.) We also struggle to believe Toni’s dedication to such a brutal competition, as she becomes moody at the slightest obstacle. Furthermore, we’re not easily convinced by her arrogant demeanor in current scenes where she is styled like the glamorous androgynous pop stars of “Smile 2” and Brady Corbet’s “Vox Lux.

However, it’s uncertain why German Toni initially arrived or opted for this particular sport. At one point, Rhames queries her about it, and she responds, “I’m fed up with things being given to me. I want to demonstrate that I’m more than my father’s daughter, especially to him.” Essentially, this somewhat arrogant and rebellious character from a privileged background seems determined to take up boxing as a means of proving something to her father? This motivation for our protagonist in such a narrative might just be the least commendable.

Another concern is that Reuther’s dialogue, filled with cliches and delivered through a thick accent by his star, often makes comprehension difficult. For instance, in an early scene, the older Toni (portrayed by Jordan E. Cooper as Payne) is being encouraged by Toni before a match, to which she says something that sounds like “They said, ‘You ain’t creek enough!’”. It takes us a moment to understand that she actually meant “quick enough.” Similarly, entire passages of dialogue become muddled and difficult to decipher, adding to the tension between Rhames’ character and Reuther’s, who has his own issues with weak lines and stereotypical character traits, while bearing the majority of the film’s heavy, forced dramatic weight.

Before Elliott initiates Toni’s physical training, “Uppercut” often seems like a stiff theatrical performance, even with Savannah Bayse’s efforts as editor to keep it visually smooth and the combined work of two cinematographers. However, due to frequent dialogues of sniping comments, labored philosophizing, and shared personal history between the leads, they rarely establish a believable connection. (The original DP, Gevorg Juguryan, was replaced by Mattia Palombi when the production was halted mid-shoot due to industry strikes.)

In the current storyline, Toni spends most of her time wandering around the underground dressing room of an arena, having heated phone conversations with her husband while simultaneously watching a boxing match on TV at home. It’s not made clear why she doesn’t opt to watch the match live or even coach her own athlete, a role that is poorly utilized for Joanna Cassidy as Rita. The occasional peeks we get of the fight don’t seem to generate much interest or enthusiasm.

The outcome is disheartening and trying on one’s patience, as much of what we anticipate from a sports drama is overshadowed by tedious dialogue, with the promised psychological depth failing to materialize. Despite hints of intriguing insights, they never fully materialize. The original film was produced during the pandemic, creatively adapting to its constraints by minimizing the cast, crew, and setting. “Uppercut” expands somewhat on locations and characters, but unfortunately, it fails to capitalize on these expansions effectively. Characters beyond the two primary ones, as well as the settings, feel underutilized and seem like unused resources.

Initially, it seemed like Reuther wanted an experienced American collaborator to oversee the remake, but Rhames’ team supposedly changed his mind. However, this decision proved to be a mistake, as “Uppercut” flops squarely in the middle of the Atlantic – the outdated jargon and clichéd atmosphere fail to capture the true essence of urban America. Moreover, this distinctly German protagonist feels incongruous and doesn’t fit well as the main character. While the director and lead actor may have improved the German version, this stagnant adaptation, struggling with translation, appears forced, offering little payoff.

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2025-02-27 02:47