Chuck Zlotnick/Lionsgate
Gavin O’Connor is synonymous with compelling sports movies. His 2004 film “Miracle” works in spite of its paint-by-numbers structure, while his 2020 drama “The Way Back” deserved its warm critical reception. But O’Connor’s strengths as a director truly come through in his 2011 mixed martial arts picture “Warrior,” arguably one of the best sports movies ever made. Tom Hardy (who was fresh off winning a BAFTA Rising Star award for “Inception” at the time) stars as Tommy Conlon, an ex-Marine who returns to Pittsburgh to gear up for a prestigious MMA tournament. Meanwhile, his estranged brother, Brendan (Joel Edgerton), also intends to enter the same event, setting the stage for them to inevitably clash. This may sound like a typical sports film setup (and, in certain ways, it very much is), but O’Connor uses it to create a tense, unpredictable drama that feels grounded thanks to its remarkable central performances.

Despite its critical success, “Warrior” didn’t do well at the box office, as it found itself overshadowed by the likes of “Contagion” and “The Help.” Even so, O’Connor’s film has gone on to develop a commendable legacy thanks to the way it blends kitchen sink drama with the emotional kineticism inherent to characters (literally) fighting to survive. You see, Tommy and Brendon aren’t in it for the fame; this tournament could literally save their loved ones, all while mending years of familial conflict and resentment. What’s more, their father, Paddy (a brilliant Nick Nolte), is trying to make amends after being an abusive alcoholic when they were kids, which adds dramatic urgency to the frayed relationship that encircles the action at the heart of “Warrior.”

Let’s take a closer look at the flawed, painfully human characters in “Warrior” and what they bring to the fighting ring.

Warrior uses its dynamic characters to power its adrenaline-heavy sports segments

Lionsgate
“Warrior” is, first and foremost, about familial conflict. Tommy’s introduction makes it clear that he is a man defined by trauma and that his bitter rage is merely an extension of that. Even his enrollment in the tournament is an accident, as it happens right after he knocks out a middleweight champion out of anger. The $5 million prize fund is the only reason Tommy enrolls while begrudgingly letting his father — now recovering from his alcoholism — train him for his matches. However, this isn’t an olive branch, as Tommy affirms that he will reject any attempts at reconciliation, deeming the partnership a purely strategic one. Even so, compartmentalizing emotions is easier said than done, especially with Brendan aiming for the same goal as his brother.

Sports movies often rally for the underdog (à la “Rocky”), but “Warrior” wants viewers to root for both of its leads despite the tense status quo. Brendan’s underdog status is pretty straightforward; his reasons for fighting are more sympathetic, and his kindler nature makes him more palatable than Tommy at passing glance. But Tommy is also an exemplary feat of complex characterization. Indeed, he’s essentially resentment personified (something he uses to fuel his fights), yet his tough exterior conceals something more delicate. The Tommy-Brendan dynamic is strained for good reason, and “Warrior” never waters down this aspect of its narrative in favor of a swift resolution or cheap catharsis.

Both Hardy and Edgerton are exceptional here, but Nolte is the standout, investing Paddy with morality appropriate for a man trying his best to atone for his sins. With more than one person to root for, “Warrior” uses this to its advantage to pull off its climax, and it’s undoubtedly better for it.