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Movie Review

Dual roles for Halle Berry in Bruised do her no favors

Alex Bentley
Nov 26, 2021 | 4:00 pm
Dual roles for Halle Berry in Bruised do her no favors
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Sports movies are often among the most predictable films out there. The formula — a person or a team that few people believe in rises above expectations to achieve success or at least respect — is one that has been repeated ad nauseam. The best sports movies find a way to rise above or mitigate their clichés, making viewers forget they already know what’s going to happen.

That, unfortunately, is not the case with Bruised, in which Halle Berry stars and makes her directorial debut. Berry plays Jackie Justice, a former MMA fighter who’s down on her luck, cleaning houses for a living and doing her best to hide her alcoholism. When her loser of a manager/boyfriend, Desi (Adan Canto), brings her to an underground fight, an impromptu bout leads to Jackie catching the eye of Immaculate (Shamier Anderson), who fronts a local training facility.

There, with the help of trainer Buddhakan (Sheila Atim), Jackie starts getting the urge to fight again. But at almost the same time, she finds herself having to take custody of her son Manny (Danny Boyd, Jr.), whom she left with his father soon after he was born. The triple burden of getting back into fighting shape, reconnecting with her son (who won’t speak for unknown reasons), and avoiding the wrath of Desi threatens to derail her quest before it even begins.

The film, written by Michelle Rosenfarb, holds very few surprises, aside from the addition of the long-lost son. But that’s not its biggest problem. Instead, Berry and Rosenfarb somehow find a way to make the inspirational sports story as unappealing as possible. That’s not because Jackie herself is unlikable; the obstacles she has to overcome are such that it’s difficult not to root for her. But the filmmakers are just missing that certain something to take her from merely being the protagonist to being the story’s hero.

Of course, Jackie is a complicated figure, especially since she all but abandoned her own child. But plenty of other lead characters in sports movies have been equally complex and won over audience’s hearts in spite of their faults. Jackie’s journey is never fleshed out to the degree that she earns the respect of either the viewers or the other characters in the film.

Much of this has to do with Jackie’s confusing background. Berry herself is 54, but it’s unclear if Jackie is supposed to be that age, too. At one point, they say that Jackie has been out of the sport for four years, and with Manny being only 6 years old, it feels like Jackie is supposed to be younger, at least in her early forties. But the lack of clarity only adds to the frustrating nature of the story.

It might have been a bit much for Berry to star in her directorial debut. As the director, she doesn’t seem to know how to rein in the more outlandish impulses she has as an actor, a lack of nuance that hurts her performance. Other actors fare better, especially Atim, who exudes a real calm in her role, and Boyd, who relies almost exclusively on his cuteness in the wordless part.

In Bruised, the filmmakers know exactly what points to hit, but they don’t have a good feel as to how to make them impactful. Berry is a great actress, but this film does her no favors on or off the screen.

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Bruised is now streaming on Netflix.

Halle Berry in Bruised.

Halle Berry in Bruised
Photo by John Baer/Netflix
Halle Berry in Bruised.
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Movie Review

New movie Being Heumann spotlights rousing fight for disability rights

Alex Bentley
Nov 13, 2026 | 2:30 pm
Ruth Madeley in Being Heumann
Photo courtesy of Apple TV
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The presence of building ramps, curb ramps, wheelchair-accessible stalls, accessible parking spaces, and more accommodations for people with disabilities is now so ubiquitous in the United States that it’s hard to remember a time without them. But as the new film Being Heumann ably demonstrates, the fight to get those things was as difficult as any civil rights battle.

The film focuses on a specific period of time in 1977 when disability rights activist Judy Heumann (Ruth Madeley) led a movement to try to get U.S. Secretary of Health, Education and Welfare (HEW) Joseph Califano (Mark Ruffalo) to sign Section 504 of the Rehabilitation Act of 1973. After years of no progress under Presidents Nixon, Ford, and Carter, Heumann and her group of other disabled people and allies decide to stage a sit-in at the HEW offices in San Francisco.

What begins as a temporary event turns into a prolonged ordeal, with Califano initially unmoved and the protesters unwilling to leave the building. The strong-willed Heumann, helped by fellow leaders like Kitty Cone (Madeline Delp) and TV reporter Evan White (Dylan O’Brien), not only puts pressure on Califano and other HEW staffers, but also members of her own group, some of whom are unable or unwilling to stay as long as she wants.

Directed by Sian Heder (CODA) and written by Heder and Rebekah Taussig, the film features a rousing story made all the more effective by the presence of actual disabled people. In addition to people in wheelchairs like Madeley and Delp, the cast features people who are blind, deaf, are short-statured, and more. Some of the cast members are professional actors, some aren’t, but they all bring a realism that enhances the story.

Heder and her team underscore the importance of the story by taking their time telling it. That doesn’t just mean giving Madeley and others extra scenes to demonstrate their skills, although the 127-minute film provides plenty of time for that. More pointedly, Heder allows the disabled people to take however long they need to do something, like trying to navigate inaccessible stairways or using a pointer to spell out words. The respect this approach shows the actors brings extra heft to the story they’re trying to tell.

There are multiple moments in the film where audience members may scoff at what’s happening to the disabled people, most notably when they are met with derision by government officials and even regular passers-by. Heder occasionally overplays her hand by either showing Califano as being overly callous or White being supremely helpful, but she mostly plays things straight, allowing the difficulties the protestors face speak for themselves.

Madeley, a veteran actor with over 30 credits to her name, puts in an award-worthy performance. While the reality of her disabled body plays a part in her role, it’s mostly the fieriness and determination that she shows that make it stellar. Others like Delp, Antwan Tolliver, Rio Finnegan, and more prove crucial in supporting roles. Known actors like Ruffalo, O’Brien, and Rob Delaney are fine, but secondary to the main group.

Being Heumann is a great way to honor the legacy of Heumann, who passed away in 2023. There is still work to be done to ensure disabled people are given access and respect in the U.S., but the events in the film show that people like Heumann and the groups they lead have power when they choose to fight.

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Being Heumann is now playing in select theaters and streaming on Apple TV.

accessibility apple tv being heumann civil rights disability rights evan white film review historical drama joseph califano judy heumann kitty cone madeline delp mark ruffalo ruth madeley san francisco sian heder movie review
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