An underdog story has rarely had less suspense or momentum than what's found in Warrior. The script is laughably cliched and trite from the first scene, failing to ever establish characters and constantly waiting to fill in back-story when it's most convenient to the plot. The whole plot is so preposterous, however, that there's never any pay-off. If these characters put their brooding machismo aside for half a second, there would be no conflict whatsoever. Without convincing motivation, it's hard to root for anybody. The scripting issues might have been overcome if the ensemble were at all good or if there was some level of technical proficiency.
I can't recall ever seeing a studio film photographed this poorly. Grainy close-ups, even in the repetitive fight sequences, make it almost impossible for O'Connor to establish space. Fights are over and done with without a clear idea of what just happened. (The effect is really not successful enough for me to think it's an intentional aesthetic choice.)
Tom Hardy swaggers about like he thinks he's Marlon Brando, but the only thing they really have in common is a beefy frame. Joel Edgerton doesn't look like he's at all related to Hardy, but he's a slightly more amiable presence. Nick Nolte gives his umpteenth performance as a hurt puppy dog.
There are a few good laughs to be had here, particularly when unnecessary announcers and commentators pop up to fill us in on plot details when the writers don't know how else to let things unfold. When melodrama is this clueless and self-serious, it's hard not to be a little bemused. It's really rare to see awfulness compound like this.
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