Uppercut

In writer/director Torsten Ruether’s Uppercut, the sport of boxing is the metaphor for life. But it’s the people who choose to step into the ring—and the lessons that get them there—that matter most.

Payne (Jordan E. Cooper) has just entered the ring for the fight of his life. What’s missing is his manager and promoter, Toni (Luiii). She is hanging in the executive suite and refusing to come out when Payne needs her most. Since the moment Payne asked her to manage him, she has been his staunchest supporter in the media as his hype-person.

Our story then jumps back to Toni, a young German street-kid who found her way to boxing trainer Elliott (Ving Rhames) and his gym in Bedford-Stuyvesant. Her dream is to become a boxer, much to the dismay of her boyfriend, Darius (Biko Eisen-Martin). Though unsure of her talent, Elliott sees something in her and decides to train her, but she has to earn her way into the ring.

Elliott has Toni perform menial tasks at first, such as maintaining the ring and cleaning up messes, before moving on to strength and conditioning exercises like sitting and standing. As Toni becomes frustrated with not actually boxing, Elliott passes along essential lessons to help her become a better, more intelligent fighter.

For writer/director Torsten Ruether, Uppercut is a reimagining of his earlier film, Leberhaken, which shares a similar plot; here, the story explores the dynamics between a young German girl and a seasoned yet disillusioned African American boxer.

“…Toni, a young German street kid who found her way to boxing trainer Elliott’s gym…”

Ruether says the film is less about boxing and more about the relationship dynamics between two people from different worlds. It asks whether we can learn from one another. Toni is trying to carve out her space in a male-dominated world, and that requires learning to fight, but does she have what it takes to get there? In Uppercut, the answer is not as straightforward as you’d expect from a sports drama.

What I appreciate about Uppercut is the European take that Torsten Ruether brings to the story. It’s about two people from different backgrounds being authentic with one another. Neither plays into the trap of identity politics. Each has a past they ultimately need to confront, and for Toni to move forward as a grown adult.

Ving Rhames lays a solid foundation, giving Luiii the right acting partner to work with. I say this because at times Luiii struggles with English, which can hinder her ability to deliver a fully realized emotional performance. Working against Rhames minimizes any of Luiii’s apparent weaknesses.

Uppercut‘s story is another interesting element. In an almost Karate Kid-like fashion, the lessons Toni learns from Elliott shape the decisions she makes as a fight promoter. I’ll just say it doesn’t play out as you’d expect, as we learn there are things in life that are just as important as fulfilling your dreams. If anything, Uppercut does not follow your typical American tropes, and it makes for better storytelling when you can’t predict the ending.

By the time the final bell has rung, Ruether’s Uppercut has tied Toni’s past in the gym to her present in a way that feels earned. This European tale takes a fresh look at a typical American journey; it becomes something messier and more human, and that’s where its punch lands.