A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
In 1964, a brash new pro boxer, fresh from his olympic gold medal victory, explodes on to the scene, Cassius Clay. Bold and outspoken, he cuts an entirely new image for African Americans in sport with his proud public self confidence with his unapologetic belief that he is the greatest boxer of all time. To his credit, he sets out to prove that with his highly agile and forceful style soon making him a formidable boxer who soon claims the heavyweight championship. His personal life is no less noteworthy with his allegiance to the Nation of Islam, his friendship with the controversial Malcolm X and his abandonment of his slave name in favour of Muhammad Ali stirring up controversy. Yet, at the top of his game, both Ali's personal and professional lives face the ultimate test with the military draft rules are changed, making him eligible for military induction during the Vietnam War. Despite the fact that he could easily agree to a sweetheart deal that would have meant an easy tour of ... Written by
Kenneth Chisholm <firstname.lastname@example.org>
Shortly after Ali knocks out George Foreman, there is a close-up of Ali with what appears to be a lone white butterfly flying behind him. This is no doubt an allusion to 'Float like a butterfly, Sting like a bee'. See more »
The argument Ali and his wife Sonji have over Ali's seeing Veronica Porche did not happen before the Ali/Foreman fight, but instead happened before the 3rd Ali/Frazier fight, "The Thrilla in in Manila", in 1975. See more »
A certain kind of critical response kept me away from this film when it was in theatrical release, and I should have known better! Michael Mann is one of the most original storytellers working in film today, and his sensibility is absolutely in sync with his subject here. Muhammad Ali always did it his way, and from the brilliant opening sequence (which breaks all kinds of rules of time and space) to the last scene, that's what Mann does, and with great style, as ever. Of course if an audience demands a literal drama, they might not catch the poetry Mann and his team create with sound and picture. Will Smith is outstanding as Ali, vocally and visually, Jon Voight is a unbelievably convincing Howard Cosell, and Mario Van Peebles is subtle and moving as Malcom X.
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