Cinderella Man

Howard's movie skillfully delivers that primal, heart-pounding satisfaction that is the promise of all boxing tales.

As for the fights themselves, Howard brings nothing new to the canvas. Like the movie as a whole, they work fine enough, even while encased in leaden certitude.

The fight scenes have a stinging authenticity and, although at 144 minutes it outstays its welcome, this is Howard's best film since Apollo 13

The Best Actor Oscar race starts now.

A superficially rousing portrait of Depression-era legend James J. Braddock.

The joy is in the playing, and Ron Howard pulls out all the stops like the organist at the old Madison Square Garden.

As a film, Cinderella Man is terribly weak, thoroughly sentimental and predictable.

Giamatti gives a daring, bold performance that easily could have drifted into a cartoonish character.

In a season where adult films are at a minimum, it is a breath of fresh air.

Even Howard and Goldsman's penchant for being over-sentimental doesn't scupper the emotional punch Braddock's story packs. That's largely down to Crowe's utterly convincing performance.