Before its premiere at the Toronto International Film Festival, Sydney Sweeney’s portrayal in “Christy” attracted attention due to her notable physical transformation: gaining 30 pounds and wearing a brunette wig. This suggested the “Euphoria” actress was shifting away from her glamorous persona to broaden her abilities in the biopic directed by David Michôd, playing the daring boxer Christy Martin. Nevertheless, Sweeney’s performance does not meet the expectations that “Christy” sets.
While certain critics commend Sweeney’s performance as her finest, comparing it to Oscar-level transformations akin to Nicole Kidman in “The Hours” or Christian Bale in various roles, she lacks the commanding presence and intensity of award-winning actors like Hillary Swank or Robert De Niro. Consequently, “Christy” suffers, exacerbated by the film’s inherent shortcomings.
“Christy” is a disorganized melodrama centered around American boxer Christy Martin, also known as The Cold Miner’s Daughter. During the 1980s, Martin’s boxing journey resulted in landmark moments, such as being the first female signed by promoter Don King and the first woman boxer featured on the cover of “Sports Illustrated.” However, the film prioritizes her personal adversities, including her mother’s homophobia and her violent husband.
In the initial act, Christy is depicted as a butch lesbian, with her relationship with Rosie (Jess Gabor) provoking her mother Joyce (Merritt Wever). Although Wever delivers a robust performance, the character of the intolerant mother is overly simplistic, bordering on comedic. The script by Mirrah Foulkes, Katherine Fugate, and Michôd depicts Joyce as a caricature, present only to voice hateful comments.
Christy’s relationship with Jim Martin, her coach and abuser, is also confusing. Ben Foster portrays Jim, wearing a fat suit and comb-over wig, embodying the stereotypes of an abusive relationship. The film juxtaposes Christy’s strength in the boxing ring with her fragility at home, yet Sweeney has difficulty conveying the required depth.
Sweeney’s portrayal in “Christy” is not Oscar-worthy. Her fluctuating Southern accent and absence of athletic prowess undermine the role. The film’s emphasis on personal drama overshadows the boxing sequences, which lack the resonance of films like “Rocky” or “Girlfight.” Michôd’s direction is more successful in portraying domestic abuse than in depicting boxing.
A crucial scene towards the end mirrors Michôd’s signature style seen in “Animal Kingdom,” with intricate movement and dialogue. Nonetheless, it is disconcerting that the film’s most potent scene involves brutal violence. However, Katy O’Brian delivers a standout performance as Christy’s opponent Lisa Holewyne. O’Brian’s presence and athleticism accentuate Sweeney’s deficiencies, making her a scene-stealer.
Despite the initial excitement, “Christy” is not the Oscar contender Sweeney hoped for. The screenplay is awkward, riddled with clichés and devoid of self-awareness. The cast struggles with maintaining tonal coherence, and Michôd’s direction fails to coalesce the film. Ultimately, “Christy” lacks punch, presenting more confusion than genuine emotion.
“Christy” debuted at the Toronto International Film Festival and is set for theatrical release on Nov. 7.