“Nuremberg” and “Christy”
Dustin Chase
One could argue that both of these films are stories and subjects we’ve seen before. “Christy,” the true story of boxer Christy Martin, who inspired the feature film “Million Dollar Baby,” offers a grungier look at the first reputable female boxer. “Nuremberg” offers an updated take on history for a new generation. Both films have acting awards buzz as Oscar season starts to heat up. “Nuremberg” will push for Russell Crowe in his transformative take on Nazi leader Hermann Göring. Controversial actress and icon Sydney Sweeney will compete for one of the already crowded best actress spots.
Boxing films, even those about female athletes, start with a ‘show me something new’ handicap they must overcome. Director David Michôd (“The King,” “Animal Kingdom”) remains an underdog director. His task here is to find new ground in the sports genre. Every director has their style or trademark; Michôd’s is ugliness. “Christy,” not unlike his previous films, is one of the ugliest looking films, on purpose, you will find this season. From wigs to clothes, lighting, and even the locations, it’s all unflattering, matching the attitude of Christy Martin.
As Sweeney fights her way out of the ugliness, there isn’t a reliance on her beauty as with “Anyone But You” or “Eden.” It’s the first real chance she’s been given to show what she’s capable of. The scene stealer of the film is Ben Foster (“3:10 to Yuma,” “Hell or High Water”). Having built a career on playing some of the most evil on-screen villains, the role of Jim Martin might be his most quietly manipulative and ruthlessly disturbing. “Christy” begins like most boxing films, but gradually transforms into a domestic survival situation. More like a Dollar General: Million Dollar Baby, but “Christy” lands the ending in a rousing way.
Michael Shannon, in a rare moment, playing an honest, clean-cut, and noble figure, is sidelined by the miscast Rami Malek....
Director James Vanderbilt (“Truth”) isn’t giving us anything we haven’t seen or felt before with “Nuremberg.” What he’s offering is a more polished and accessible retelling of historical details. Early in the film, Michael Shannon’s character, Associate Justice of the U.S. Supreme Court Robert H. Jackson, is trying to accomplish “legal limbo” with the Nuremberg trials. A logistical nightmare that’s never been attempted before. Shannon (“Nocturnal Animals,” “The Shape of Water”), in a rare moment playing an honest, clean-cut, and noble figure, is sidelined by the miscast Rami Malek (“Bohemian Rhapsody”) as the Army’s psychiatrist Douglas Kelley, tasked with treating and extracting information from Göring (Crowe). Think Hannibal Lecter without cannibalism.
There are a handful of moments where “Nuremberg” shines; Jackson blackmailing the Pope is quite entertaining. The big surprise is “White Lotus” star Leo Woodall’s train station scene. Telling a gut-wrenching story we have heard before, his conviction and dedication to the scene bring emotion otherwise lacking throughout the film. Vanderbilt is trying to tell three stories with three points of view and doesn’t quite pull off the intersections. Cinematically, it’s quite dull, with Crowe, Shannon, and Woodall elevating the historical drama to moderate success.