Real Steel Boxer
October 5, 2011 by staff
Real Steel Boxer, “Real Steel” dresses a bad idea – boxing robots – with all the computer effects and Hollywood heavy metal action you can buy. But that does not cover the fact that it is a bad idea. Very bad.
And “Real Steel” is a really bad movie, with some embarrassingly terrible times for Hugh Jackman, Wolverine silly mustaches in the “X-Men” movies look very distinguished in comparison with extravagant decorations here.
A horribly predictable mash-up of “Rocky,” “The Champ” and Robots ‘Sock’ Em Rock Em, “Real Steel” puts the director Shawn Levy (the “Night at the Museum” films) in the fight with his robot companion manipulator Michael Bay for the title of worst grossing film director in the entertainment world.
With a team of executive producers Steven Spielberg and including Robert Zemeckis, Levy has all the resources that a director could want. Everything is going to punish the noise and chaos of the machine, the fight scenes for the drama sewn monotony of a deadbeat dad bothered by the connection with your child upset.
Charlie Kenton Jackman is a former boxer scaling in the near future as a promoter of fighting robots, who have taken the sport of human fighters. Charlie is on the seedy side of boxing, the blows of his second ‘bots trade fairs and other unauthorized places, while the great duke it out in televised league fights huge stadiums.
A sleazebag who has built a life to jump out of its debts and liabilities, Charlie is suddenly on the road with his 11-year-old son, Max (Dakota Goyo), after the boy’s mother dies.
Short of money and need a new robot, Charlie goes to the junkyard to steal the pieces to build a new fighter. There, Max runs into Atom, an obsolete fighter robot turns out to be a diamond in the rough, fighting machine who becomes a sensation in the fighting circuit.
From there, the drama developed by screenwriter John Gatins and two other people who share story credit goes where it is expected that without a murmur of surprise or originality. Father and son squawk and struggle to find common ground and slowly make their way to becoming a family, while Atom favorite gets a shot at the champion.
It’s pretty disgusting, though not as foul as some of the images Jackman shadow boxing outside the ring during the final match. It looks pretty silly to do so, capping a misconduct in which Jackman is usually acted out by robots. Jackman is too eager at first to show how viscous Charlie, and that makes the abrupt transformation of the uncle’s father all the years of the most compelling material.
Goyo is exceeded, too, his seriousness increasingly heavy and cloying when Max finally becomes an idol in the ring himself for their dance routines with Atom.
The rest of the cast is produced in the spare parts: Evangeline Lilly as a mechanical robot and Charlie’s sometime love interest, Anthony Mackie as a bookie and organizer of the fight, Hope Davis as an aunt in order adopting Max, and Kevin Durand as a rival fight promoter.
None of the humans have something interesting to do. The robots are the stars. Life-size versions of some robots were built by the actors to carry out, while the fight scenes were created using human boxers whose movements were recorded digitally as the basis for the movements of the computer-animated robots “(Sugar Ray Leonard helped choreograph the fights).
The fights are deafening and bruising, more like demolition derbies sporting events. It’s hard to buy into the idea that fans could never be so mad to see a couple of machines as they are torn to see two men sweat and effort and bleeding on the canvas.
No human consequences, where’s the drama?
“People wanted more killing, more show,” says Charlie, explaining why the robots replacing people in the ring. The metal carnage “Real Steel” rings hollow, however.
The filmmakers took the basic idea of ??a robot boxers tale “I Am Legend” author Richard Matheson, who previously was in an episode of “The Twilight Zone”.
The advance only “Real Steel” takes the production values. Hollywood robots have come a long way from that quaint old black and black show. Storytelling, not so much.
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