VICTORY is a 1981 John Huston film that combines a LONGEST YARD type game-between-prisoners-and-guards story with a GREAT ESCAPE type story about escape greatness. It all begins when Sylvester Stallone, a Canadian prisoner in a German WWII labor camp (I thought American, but apparently he has a maple leaf on him somewhere), loses control of his soccer ball. It rolls over to Max Von Sydow, a Nazi officer who starts showboating by foot juggling it even though he’s wearing his big Nazi boots, and he kicks it over to Michael Caine, a British prisoner who was a pro footballer/soccerer before the war.
That one casual sporting exchange is historic because it starts up the conversation that leads to the deal: the best players from among the Allied prisoners will play an exhibition game against the German national team. For the Nazis it’s good propaganda at the end of a war that, let’s face it, did not improve their country’s image on the international stage. For the prisoners it’s an opportunity to plan an escape.
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I don’t know if this is true but I heard it’s good luck for movie critics to start a year with a Clint Eastwood review. So I saved TROUBLE WITH THE CURVE for the occasion.
I heard MONEYBALL was good, so I wanted to see it, but I was definitely skeptical. Steven Soderbergh tried to get this movie done for a long time, based on the non-fiction book of the same title. But he got the plug pulled a couple times, the studio thought the script wasn’t entertaining enough and he wouldn’t do what they wanted because he was trying not to dramatize and composite and shit, he wanted to try to make it as close to 100% true as he could. Well, after he finally bowed out they quickly got a new script by Steve Zaillian (SCHINDLER’S LIST, GIRL WITH THE DRAGON TATTOO) and Aaron Sorkin (SOCIAL NETWORK, West Wing TV show) and director Bennett Miller, and that’s a good group of people, but these kinds of salvage jobs never turn out good. 
Here’s a not-perfect but surprisingly enjoyable family sports robots drama from the visionary director of, to be frankly honest, CHEAPER BY THE DOZEN (remake) and THE PINK PANTHER (remake) and a bunch of other shit like that. Obviously the title is a cheap stunt, they’re trying to make you think Shaquille O’Neal is in it, so please spread the word that that’s not the case. It’s also not officially based on the beloved intellectual property Rock ‘Em Sock ‘Em Robots, even though it’s about boxing robots. It’s credited as being partly based on a Richard Matheson short story called “Steel” (also turned into a Twilight Zone episode starring Lee Marvin), but I say it’s suspiciously similar to Menahem Golan’s OVER THE TOP. 
THE FIGHTER is another movie about the working class struggle of the underdog boxer, this one based on a true story, developed for years by Darren Aranofsky, finally directed by David O. Russell when Mark Wahlberg realized he’d been in boxing training for 3 or 4 years now and it would be good to start filming at some point. Those are both kinda weird directors for a normal boxing movie, but this is pretty normal, it’s not some radical reinvention of the genre. What makes it fresh though is the focus on the whole family. It’s equally about the fighter, Micky Ward (Wahlberg, BOOGIE NIGHTS) and his half- brother Dickie Eklund (Christian Bale, AMERICAN PSYCHO) and their place in the town of Lowell, Massachusetts.
CHOKE is an early mixed martial arts documentary, released in ’99 and directed by one Rob Goodman. They don’t call it “mixed martial arts” or “MMA,” they seem to like “no rules fighting,” even though the movie makes it clear that there are rules, and even shows people arguing over what the rules should be. It focuses on the 1995 Vale Tudo tournament, a Japanese freestyle fighting competition similar to Ultimate Fighting Championship except in a ring instead of an octagon. It has ropes instead of walls and is a totally different shape although the number 8 is divisible by 4, in my opinion. 
In the 1994 sports ‘n action drama PENTATHLON, Mr. Dolph Lundgren plays Eric Brogar, an East German athlete trained since childhood to be the ultimate pentathlon competitor. David Soul (Hutch from ‘Starsky & Hutch’!) plays the authoritarian (later revealed to be Neo-Nazi) coach Heinrich Müller, who slaps little Eric around and drills him to believe that if he trips on a rock or something he’s “failed the German Democratic Republic,” as well as himself and all his friends. I mean, this coach is such an asshole that you know he’s not even gonna be the kind of asshole that turns out to be lovable at the end like James Earl Jones in 
BEST OF THE BEST is a watchable movie, but not the best of any genre, except possibly Eric Roberts non-sequel karate tournament movies. So I’m not sure about using the word “best” two times in the title. Seems a little presumptuous, unless one is supposed to cancel out the other. They were definitely set on that title, though. It’s spoken out loud in the movie and appears in one of those ’80s inspiration-rock montage songs.
Okay, my last two reviews brought out everybody’s expertise of mixed martial arts competitions and professional wrestling. Let’s see how you guys do with this sport.
THE SMASHING MACHINE is a documentary about Mark Kerr, at the time an undefeated fighter in UFC, Pride and other mixed martial arts competitions. The director is John Hyams, whose UNIVERSAL SOLDIER: REGENERATION was so unexpectedly great I felt compelled to watch everything else he’s directed. In fact, Van Damme’s admiration of this movie is apparently what got Hyams the gig on the ol’ UNISOL.
