Right from the very beginning of the motion picture era sports have been a significant choice of subject matter. It contains virtually every element necessary to make a compelling movie. There is action, drama and tension not to mention the distinct possibility of romance. Initially specific plays, bouts or heats were committed to celluloid for inclusion in the then popular newsreels but that quickly gave way to the production of feature length movies. Some of the industrious best and most culturally significant films have been built around a sports theme. All sports have been subjected to such treatment but here is one that appears to be especially adept at fulfilling all the required elements of an interesting story; boxing. Few sports are capable of generating the degree of emotional impact that come from pugilistic endeavors. It is an ancient contest pitting two individuals in direct contention. It tests the physical prowess and tactical adroitness of the competitors in the most fundamental area possible. Yes, it is brutal, a distillation of personalized violence but for better or worse it speaks to a primitive remnant still residing in our brains. Like most modes of story telling the sports dramas has received a very popular treatment, incorporated into a setting defined in a science fiction context. Sci-Fi has transcended the confines of being a specific genre to the ability to provide the scaffold for a different type of film.

In the case examined here, ‘Real Steel’. It takes the traditional underdog overcoming arduous odds for a chance at the title. In this case the wannabe champion just happens to be a robot. It is not unusual for a science fiction story to use humanoid mechanical beings to probe the foibles of humanity. It permits the writer to isolate the human traits he wants to examine isolating them in the metallic form of a robot. This film gives a good try but it falls short of a solid win. It is also the kind of flick that appeals more to the audience than the critical community at large. The reason for this observation is rather simple; the flaws present in the film are technical in nature and not all that damaging when you consider the movie’s ability to pull the audience into the excitement of the fight scenes. After all, you don’t go to a movie like this to dissect the camera angles or lighting, you want to see the fights.

The film is set in the not too distant future, 2020, where human boxing has been replaced by robotic contenders. These hulking humanoid devices are able to give fans of the sweet science the thrills they seek without putting a human being at risk for grievous injuries. Charlie Kenton (Hugh Jackman), had been one of the last human participants in the sport before the change but still pursues his dreams albeit veraciously through his automaton, Ambush. Like his human manager the robot is more prone to defeat in the ring than victory. During an exhibition match at a country fair Charlie’s robot is annulated by Black Thunder, owned by unscrupulous promoter Ricky (Kevin Durand). Unable to cover his $20,000 bet Charlie flees it out of town. The direction of is escape is altered when Charlie learns his former girlfriend has died. He is called to a court hearing to determine the custody of their son Max (Dakota Goyo). Charlie’s lifestyle is not conducive to being a single parent so he is glad when the boy’s wealthy relatives, Debra (Hope Davis) and Marvin (James Rebhorn), offer him $100,000 to sign over his parental rights. The one caveat is Charlie look after the boy for three months while they travel. The pair crosses paths with Charlie's childhood friend Bailey Tallet (Evangeline Lilly), who has inherited a boxing gym from her late father. Using the down payment from Max’s uncle Charlie buys a used former robotic boxing league contender, Noisy Boy. The plan is to make some extra cash in the underground boxing circuit. A combination of faulty equipment and overconfidence results in a brutal loss. Sneaking into a junk yard Charlie hopes to find the components necessary to cob together a new fighting robot. Happenstance leads Charlie to broken down robot, Atom, a discontinued model built for sustaining massive punishment instead of the speed and finesse embraced by the current generation. Cannibalizing parts from his previous fighter Charlie arguments Atom to the point that he can program some of his own personal boxing moves to defeat the next couple of opponents. Anyone who has seen ‘Rocky’ or any similar flick knows what happens next; originality in the progression of the story is not the strong suit of the film. There is a touching emotional moment or two, a moral dilemma and a crucial showdown complete with predicable outcomes.

The basis for the screenplay by John Gatins was the 1956 short story by Sci-Fi legend Richard Matheson. It had been an episode of the ‘Twilight Zone’ shown in its final season in 1963 called ‘Steel’ featuring Lee Marvin. Naturally director Shawn Levy had to make some alterations in the story to adapt it to the sensibilities and expectations of a modern audience. His prior experience included familiarity with the specific demands of special effects driven movie as demonstrated by his direction of both ‘Night at the Museum’ flick. It is difficult to take on a story that had been previous told in such a memorable way especially considering the ‘Twilight Zone’ episode was released on Blu-ray only a short while ago making it fresh in the minds of the fans. Although much of the narrative is carried in a predictable fashion the effects are stunning and Jackman is such an incredibly versatile actor that he can not only pull off the role of Charlie he infuses it with sufficient emotional texture as to make the character interesting.

The Blu-ray edition of the film is an intense experience. The 1080p video brings the smallest detail to life allowing you to relish in the visual nuances incorporated by the filmmaker. The DTS Master HD audio creates a sound stage that sweeps across your living room like a sonic tsunami enfolding you. The directionality provided by the rear speakers is exceptional extending beyond the usual task of reflective ambience. It is not a great film, technically, but it is one that will not disappoint either.