TORONTO – A few minutes into Sean Ellis’ “The Cut,” it would be easy to assume you’re watching yet another contemporary remake of “Rocky.” A long line of boxing movies that center on a washed-up fighter looking for that one last title shot to redeem himself. There are usually two a year, sometimes more, often with a twist. It soon becomes intriguingly apparent, however, that is not this movie. This is something completely different entirely.
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A world premiere at the 2024 Toronto International Film Festival, “The Cut” was written by screenwriter Justin Bull from an original idea pitched to star Orlando Bloom by Mark Lane, who has story credit. It begins with an awkwardly conceived flashback of the Boxer (Bloom, impressive) blowing a world championship title chance on global television. He had his opponent on the ropes but was distracted by a traumatic memory from his childhood and got eviscerated for it. A decade later, he’s back in Belfast, Northern Ireland, where he runs a boxing gym with his wife, business partner, and one-time boxing manager, Caitlin (Caitríona Balfe, the film’s secret weapon). Disrespected by the younger pros at his own gym, the Boxer is now relegated to moping floors and unclogging toilets. This is not the life he expected. Not after almost hitting the big time.
After a title challenger unexpectedly dies a little over the week before a highly publicized match, the Boxer and Caitlin find themselves at dinner with a wealthy boxing promoter (bizarrely uncredited). The promotor knows audiences love a washed-up comeback story and the Boxer was, statistically, a top-tier fighter in his prime. He could easily step in and give the press and viewers something to talk about. There is one problem, though, and Caitlin immediately calls it out. The Boxer is significantly over the 154-pound weight allowed for the Junior Middleweight class. He is, in fact, 32 pounds over the limit. The Boxer insists he can drop the fat in time and commits to Caitlin he’ll back out if he can’t.
Fair warning, the rest of this review will touch on issues of bulimia and severe weight loss.
The pair are soon whisked to Las Vegas where they are given a casino ballroom gym to train in, a diet and nutrition expert, Paolo (Andonis James Anthony), and an assistant, Manny (Ed Kear, scene-stealer). After a few days of rigorous training and a select diet, Caitlin is concerned. The Boxer has barely lost any weight, and she does not believe he can lose enough for the fight without finding himself in an emergency room. The Boxer is undeterred. Unbeknownst to his team, he’s already sneaking into resort restrooms and throwing up his food. He has issues, many of them, but he’s committed.
As the days progress, the Boxer increasingly begins to hallucinate and recall difficult childhood memories with his mother in war-torn Belfast (Clare Dunne, better than her material). But whatever physical nightmare he’s enduring is about to turn into a horrifying hellscape. There are 48 hours before he needs to be weighed, and he’s still 26 pounds over. The Boxer and the promotor are at Defcon 5. Looking for any possible advantage, the promotor brings in Boz (John Turturro, pitch-perfect), a trainer with a reputation as a miracle worker in a short time frame. Almost immediately, he discards any safety precautions Caitlin attempted to adhere to. Within hours, both she and Paolo are gone. Their consciences won’t allow them to participate in this death march.
At this point, Ellis ratches up the intensity to an almost stomach-turning level. It’s partially the filmmaking. It’s also the recognition of how dangerous this mortality game has become. Reading that the thrust of “The Cut” is a descent into madness for rapid weight loss may not sound cinematic. It may not even sound like a compelling storyline. Somehow, Bloom, Turturro, and a late addition, Mohammed Mansaray (as Lupe, another boxer attempting to make weight), give it an unexpected intimacy that often makes you want to look away from the proceedings.
From an aesthetic perspective, it’s hard to argue that Ellis isn’t stretching his canvas or that some of his cinematic techniques are severely dated. Moreover, the film could be more effective without the childhood flashbacks and some of the Boxer’s contemporary visions which, sadly, border on the cliché. And yet, the film is compelling even when Ellis’ creative choices hinder it. Perhaps it’s the originality of the endeavor. Maybe it’s the performances. Maybe it’s Bloom’s transformative commitment. Or perhaps the disbelief of how close the Boxer’s fictional experience is to reality. Heavens, we were squirming in our seats throughout the last third of the film. So uncomfortable that we wanted to bolt and still stay to make it to the end credits. That’s got to mean someone was doing something right. [B-/C+]
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