Uppercut (2025) Movie Review: A Deep Dive into the Film’s Impact and Themes | Roger Ebert Insights

“Uppercut” shares some vibes with “Million Dollar Baby” but takes a different path. It tells the story of a young German girl, Toni, who seeks out an older ex-boxer, Elliott, to train her. He’s reluctant at first, but she doesn’t back down. The film, written and directed by Torsten Ruether, feels like two stories awkwardly stitched together. The core of the film—an intimate late-night chat and training session between Toni and Elliott—holds promise, largely thanks to Ving Rhames’ strong performance.

The movie opens with Toni, played by Luise Großmann, as a glamorous boxing manager, wrestling with her responsibilities. She gives a pep talk to her boxer right before a big fight, all while arguing with her husband about their sick daughter. It’s hectic, and the tension is palpable as she juggles her job and family drama.

Then we flash back eight years. Toni is wandering the streets of Manhattan, lost in thought. She munches on pizza, watches street dancers, and seems uncertain of her place in the world. Acting on a tip, she visits a boxing gym after hours to meet Elliott. Initially, he tells her to go, but she manages to convince him to let her stay. Their conversation stretches late into the night, filled with talk about boxing rather than rigorous training.

The narrative bounces between those past moments and the present-day scenes of Toni in her business attire. There’s a disconnect, making it hard for viewers to feel the emotional weight of the story. The conversations often feel like they lack depth, and the shifts in time don’t build the suspense they aim for.

One of the film’s more curious moments is when Elliott plays a Buddy Guy record. He wants to see Toni’s rhythm, but the scene feels out of place in the boxing context. It’s an attempt to portray a bonding moment, but it mostly raises questions about the connection between their stories.

Toni’s journey pales when contrasted with Claressa Shields’ inspiring story in “The Fire Inside.” Shields faced significant challenges, coming from a tough background and battling stereotypes in the boxing world. She felt real and relatable, whereas Toni’s motivations seem muddled. Toni mentions wanting to work hard for something, but it doesn’t provide the motivation audiences typically cheer for.

Throughout their training sessions, Toni struggles. She whines and hesitates, even getting hurt during a workout. If I, without boxing expertise, doubt her fighting spirit, it raises concerns about her readiness in the ring.

What truly drives Toni to become a boxer? This pivotal question remains unclear. The film hints at a previous version of her—an eager, scrappy girl—but it struggles to convey the loss of that character in her current persona. The narrative becomes frustratingly vague.

The film’s complicated origins may contribute to its issues. “Uppercut” is an English-language remake of Ruether’s earlier film, “Leberhaken.” Even more confusing, Ruether created two additional takes on “Uppercut” in 2023, leading to a jumbled story. With different versions competing for attention, the final product feels disjointed, combining elements that struggle to fit together.