Sydney Sweeney swings big in ‘Christy,’ but the movie undercuts her commitment

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When you hear the name “Christy,” you likely think of the person, not a movie. This film tells the story of Christy Martin, a pioneering female boxer who became the first woman to appear on the cover of Sports Illustrated. Sydney Sweeney delivers a powerful and moving performance in the role, completely embodying Martin. However, beyond Sweeney’s work, the film, directed by David Michôd, feels formulaic and somewhat artificial, as if created by an algorithm rather than genuine artistry.

It’s disappointing because the film initially shows real promise. When we first meet Christy, a tough, athletic, and openly gay high schooler who uses boxing to build her confidence, the script – written by Mirrah Foulkes and Michôd – expertly highlights the hidden aspects of these stories. It focuses on the intensity and energy of a talented boxer, the pressures of being different in a male-dominated sport, and how this ultimately leads Christy to hide a part of who she is.

Films about female boxers in the 21st century, like “Girlfight,” “Million Dollar Baby,” and “The Fire Inside,” are particularly compelling because they offer unique stories of empowerment. This contrasts with movies about male boxers, which often rely on familiar, traditional tropes. Male boxing films still tend to follow the same old patterns – we’re still stuck in a world reminiscent of “Rocky.”

Rising star Christy, brilliantly played by Sweeney, is a fiercely competitive fighter. Boxing offers her an escape from the pressures of her small town and, especially, from her mother’s critical gaze (played with cool detachment by Merritt Wever). She fights with a raw, defensive energy, yet often makes victories seem both exciting and inevitable.

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The film shows how her dedication to boxing as a career is subtly altered – symbolized by a pink training outfit – when she begins working with trainer Jim Martin. Ben Foster plays Martin with a disturbingly blank expression, hinting at the manipulative figure he becomes. While Foster’s performance as the troubled and suspicious Jim isn’t the movie’s biggest flaw, the director’s overuse of montages to depict key moments is. These montages, combined with an overly dramatic soundtrack, feel heavy-handed and rush the story.

Foster’s constantly changing performance creates a problem for the film. It’s hard to understand why Christy would ever trust Jim, let alone marry him. The film seems determined to show Jim as untrustworthy, which weakens the effort to explain why Christy remains with him for so long.

Despite initial impressions, Sweeney delivers a strong, present performance, particularly through her expressive eyes. However, the film simplifies the complexities of unhealthy relationships, making the connection between the two main characters feel uneven and confusing. Characters predictably fall into either being completely supportive – like Ethan Embry’s caring father and Katy O’Brian’s former competitor – or displaying shocking indifference whenever Wever is on screen. More compelling is Chad L. Coleman’s brief but powerful portrayal of Don King, radiating charisma and control.

I have to say, while “Christy” aims to celebrate an incredible athlete, it ultimately falls short. The film tries to balance her success with the difficult parts of her life – her sexuality and past trauma – but it feels too polished, too much like a standard melodrama. What this story really needed was a raw, unflinching look at the struggles, not just the triumphs. It focuses on the big wins and losses, but skips over all the small, crucial moments in between – the ones that would have truly shown us what it took for her to overcome everything and fight her way to the top.

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2025-11-07 22:01