Hasta el último round

This movie had some great boxing scenes. The hits looked real and the cuts and bruises did too. The only problem with this movie was it was a little over two hours. Instead of flying to Las Vegas, they drove there. This led to over 40 minutes in the car (Nice car though). If the movie was 90 minutes, it would have been much better.

A nice touch was the use of real boxing personality. For the casual fan, people would reconize George Foreman, Mike Tyson and other from HBO. It also had real cutmen and trainers in the corners. The director/writer does his research and the movie does show it.

Still the movie is a 5 out of 10.

I just saw this movie the other day and, unlike some reviewers, I had a problem with the fight scenes. I thought they were too unrealistic.

First off, let me say that I loved the celebrity cameos at the arena; they certainly added a touch of realism, and having Lucy Liu's character show up with Rod Stewart was a stroke of genius. But I thought it too unrealistic the way the two boxers slugged each other without lingering effect. How many times did one of them get knocked down and struggle to barely get up at the count of nine? Too many to count. And in real boxing matches, whenever someone struggles to get up at the count of nine, it is all they can do just to hang on until the end of the round. Yet in this movie, each time someone gets up at the count of nine they immediately launch a counteroffensive that has their opponents on the ropes. They just does not happen in real life.

Am I nitpicking? Perhaps, but it ruined the film for me.

A boxing film from minor or no league sports milieu chronicler Ron Shelton (Bull Durham, White Men Can't Jump) with the not exactly untested talents of Antonio Banderas, Woody Harrelson, Tom Sizemore, Robert Wagner, Richard Masur, Lolita Davidovich and Lucy Liu. What's wrong with this picture? Nothing once you get to the last third and the actual fight ensues. It's the first 90 minutes that's not quite a knock out. In our overly commercialized and celebrity athlete obsessed world culture, Shelton has made a career out of showing us the world of the also-rans (and jumped and hit and thrown, etc.). For every record breaking multi-millioned contract holder making even more telling the world to guzzle the Gatorade, there's a hundred guys like "Durham's" Crash Davis trying to eke out one more season before taking a job at the sports shop or hardware store. This is "Bone's" big stumble, not really establishing what kinda of lives these two has-beens lead now that they are reduced to working as sparring partners at a no-name local L.A. gym. Shelton would have written this a whole lot smarter if he had picked a venue he knew better back east, say New Orleans or St. Louis for Banderas' Cesar and Harrelson's Vince to hail from. It would have made the road trip a helluva lot more interesting visually, moving through prairie to mountains to desert. Instead, we get dried brush and rocks as back drop for Cesar and Vince's back and forth that is supposed to tell us who they are. And who they are isn't all that interesting, which is what's going to doom this film with audiences. This is story that starts off in the most contrived way. In a chain of events that starts with the undercard of a Mike Tyson fight in Vegas getting hopelessly stoned and haplessly dead, respectively, we are then asked to believe that the promoter would even in panic call two guys who don't even really fight any more. The film really needs the audience to believe and believe in these guys after this and Shelton fails to make Vince and Cesar unique enough. People might plunk down their eight bucks for a flick with stupendous special effects, but a great fight? Which is the one thing that "Play It To The Bone" has - a helluva fight. For filmgoers who thought the book had been written on showing a boxing match with either the high art stylization of "Raging Bull" or the pop art sequences of the Rocky franchise, prepare for the most brutally realistic display of the sweet science yet shown. In a sequence that uses a refreshing paucity of slow-mo shots, we are taken through ten rounds of sympathy-welt-raising fisticuffs. At least we know the time Shelton didn't spend on researching his characters wasn't wasted hobnobbing with Tyson and the other real-life boxing personalities who pop up in cameos during this section. It was spent watching God knows how many hours of old boxing film.

The sequence also manages a subtle commentary on the empty spectacle of such "event" sporting events, as the oblivious main event crowd gets sucked into Vince and Cesar's career defining contest. Here's what a boxing match is supposed to be about: two hungry guys out to prove they are top dog. And right up to the conclusion Shelton is on his way to making the first uninspired 90 minutes disappear - then he pulls his last punches and ruins it. This is when the anemic character develpment and unorginality catches up with him. The audience feels sucker-punched going out the door.

When you think of sports films, one name comes to mind: Ron Shelton. Five of his last six directorial efforts, not to mention writing efforts like "Blue Chips," have been about sports. "Bull Durham," of course, is his touchstone film, but "White Men Can't Jump" and "Tin Cup" are both excellent. Baseball, basketball, golf, and now with "Play It to the Bone," boxing. But are they really sports films or are they simply character-driven comedies that use the sports world as a backdrop?

Only Shelton knows if it's intentional, but almost all of these stories follow a similar formula: he takes three characters, two men, one woman, who are all different things to each other. Sometimes it's a love triangle, sometimes it's not-but the woman always has a lot to teach one of the men in particular (Susan Sarandon's character in "Bull Durham" to Tim Robbins', Rosie Perez's character in "WMCJ" to Woody Harrelson's, etc.).

One of the men is a washed up has-been or never-was and the other is the egomaniacal flavor-of-the-month (Kevin Costner and Don Johnson in "Tin Cup"; Costner and Robbins in "Bull Durham"). The lone woman always uses psychology to enlighten the men on how to play the Game better, both of sports and of love (Rene Russo's character in "Tin Cup" is a psychiatrist). The entire story is about the contrast between the men's and the woman's view of life. Somehow, the woman always ends up the wisest of the three, while the men are allowed to behave irrationally because that's what men do. In the end, she finds that one of them is hopeless, and chooses him because of it. A woman never met a man she couldn't fix, at least not in a Ron Shelton film (the exception being "WMCJ": Rosie Perez' character does actually leave Harrelson's).

"Play It to the Bone" is more of the same. This time, however, both men are washed-up has-beens--boxers--Vince and Cesar (Harrelson and Antonio Banderas). They both have a lot of kinks to work out in their lives. The only issue either of them acknowledges at first is money--they have none and are offered fifty grand apiece to fight as replacements on a Mike Tyson undercard. The two are best friends, both have been ranked as middleweight or super middleweight boxers, but they've never met in the ring. Instead of flying to Las Vegas, they drive from Los Angeles in Cesar's girlfriend's (Lolita Davidovich) car.

Davidovich plays Grace, the aforementioned all-knowing woman, a Ron Shelton staple. She's dated both Vince and Cesar and knows exactly what buttons to push. She knows what makes each man fight better and, over the course of the road trip that eats up the film's first two acts, brings each to the proper mental state.

"Play It" is like a rubber band: you keep pulling it back farther and farther, building up the tension until it's ready to break, then release. When the opening bell of Vince and Cesar's bout rings, Shelton's rubber band snaps. Grace's intention was for the two to fight each other and for both to do well, allowing each to unleash some of the frustrations they have in their lives. Her mistake was thinking that either man would hold back. By the fifth round, when they've beaten each other's faces bloody, we see the two aren't fighting each other any more: they're fighting themselves. Every woman knows that men don't talk about what's really on their minds. I admit it: We men generally deny what is true about ourselves until we're ready to explode. Shelton has a way of hitting the bullseye when it comes to human interaction, and does so again here.

The film's centerpiece, the final fight, is exciting and entertaining. It's more visual than anything Shelton has tried. As the men fight, they have visions that represent their respective life struggles. I found myself missing the Shelton of old, the one that just told it straight. Everything just felt more free and fun; loose. The story was always a free-for-all, a game with no rules, where absolutely anything can happen. With "Play It," he seems too intent on making a point and becomes (gasp) a filmmaker. The story actually has (gulp) structure, whereas his others were directionless, but in a good way. For once, Shelton wrote the characters rather than letting the characters write themselves.

Mr. Shelton, leave structure to the hacks and keep making great films.

Grade: C

All in all, this is an okay film. The plot is very simple, and the characters are fairly interesting. I understand that this movie is supposed to be about second chances, but I couldn't help but think after the movie's very predictable ending, what the hell was the point of the movie? What was the epiphany reached, and what was the point of characters like Lucy Liu being in the story? 90% of the film is spent during the car ride to Vegas, which is good and bad, it gives a personal touch to a movie, yet does get kind of old after a while. I like Woody Harelson's character b\c I can relate to him in a lot of respects. One thing I found unrealistic, no chick would ever ditch Antonio 'de sexy' Banderas, I almost laughed when she 'broke up' with him. Antonio also looked a little weak for a boxer, but the fight scene in the end was not effected by it. The end is actually the best part of the movie, yet it is very predictable. Overall, not a bad friday night movie if you have some time to kill and a few beers to pounce. 6/10