Might I ask of Hollywood just one thing?

Rating: 8/10 (5 June 2005)

From this point forward, Ron Howard should be allowed only to direct period-piece biopics starring Russell Crowe and an Oscar-caliber Hollywood sweetheart as Crowe's supportive wife. Just as this acting-directing duo did with their award-winning "Beautiful Mind" audiences are again treated to a true story of triumph over adversity played up with sepia-toned cinematography, lovely attention to period detail, and a swelling music score.
There's just something about Ron Howard's hackneyed mediocre directing style that allows for Russell Crowe's scenery chewing chameleon-like performances to shine at their brightest. He is the greatest actor of this generation, and here there is not one false note in his portrayal of scrappy under-dog boxer James Braddock, who went from the bread lines to the ring during the Great Depression and brought a nation on their knees back to their feet (or so the producers would like us to believe in their fairy-tale story). Likewise, Renee Zelwegger, like Jennifer Connolly before her, is pitch-perfect at Braddock's lovely wife, Mae. Please, Hollywood, from here on out let's cast Zelwegger only in movies taking place in the 1920's and 1930's. Just like in "Chicago" she looks perfect in the part, as if she was born in that era. The rest of the supporting cast (especially Giamatti as Braddock's tongue-lashing manager) is top notch.
Howard leaves no cliché unturned and no heart-string unplucked (cute kids getting sick in the cold or shedding a tear at a father's promise, a boxing opponent of pure swagger and spite, a grieving widow finding hope in cheering for Braddock, cynical reporters and other rich-people type becoming overwhelmed by Braddock's show of heart). As predictable as it all was, it was still nicely uplifting, and proof positive this is the only type of movie Howard should touch, and Crowe the only star he should ever work with. Bravo, fellas, you've done it again in spite of yourselves.