For Kusama, it's an open-and-shut case; she has constructed a universe in which The Man holds all the cards and the only way to beat him is at his own game -- that is, bludgeoning violence. This is a tale of a young Latina woman who uses the splendid and intelligent sport of boxing to discover her self-confidence and poise. From its opening frames, in which pugnacious high-school senior Diana (newcomer Michelle Rodriguez) busts a silly Kubrick psycho stare at the camera, it's quite clear that we're in for a long, unpleasant, reactionary ride.
"Everything I know about being a loser I learned from you, Dad," Diana sneers at her unctuous father, Sandro (Paul Calderon), who, in the absence of his dead wife, scarcely knows how to mix Kool-Aid for Diana and her artsy, effeminate brother, the aptly named Tiny (Ray Santiago). Virtually friendless at school, save for an awkward girl, Marisol (Elisa Bocanegra), whom she champions for no particular reason, Diana seethes with rage, sporadically attacking classless classmates until she's on the brink of expulsion. In a world run by a profoundly dorky white faculty ("Have you ever considered how much more effective it'd be to talk about your disagreement?"), the preverbal Diana spends every waking minute on the verge of snapping. Not feral so much as sullen and vicious, she's a desperate loner with no future in sight. Imagine a female, adolescent take on Taxi Driver or, as the director herself has put it, "Brando as a teenage girl."
In a futile attempt to shape Tiny into something vaguely anthropomorphic, Sandro pays for boxing lessons at a cruddy gym littered with hopeful, grammatically challenged cardboard signs such as "When your (sic) not training, someone else is training to kick your ass!" Once Diana shows up and displays an acute gift for the ... um ... savage craft, a firm but compassionate trainer called Hector (Jaime Tirelli) agrees to take her on. Despite some initial reluctance from her mentor, Hector soon has Diana running her requisite miles and punching the bag, and the scrapper is gradually transformed into a skillful pugilist. But, of course, there is a problem in the emotional arena: A fellow featherweight named -- one imagines, with a nod and a wink to Rocky -- Adrian (Santiago Douglas) has taken a liking to his coarse sparring partner, and vice versa. Before long, Hector initiates open-gender matches, and it's not difficult to guess how things will proceed from there.
Thematically, it's difficult to weigh in on Girlfight without revealing the ending, so here's a question for you: Back in 1976, would we have applauded if Sylvester Stallone purposefully beat Talia Shire out of her only shot at a figure-skating title, especially if it represented escape from obscurity and mediocrity? Probably not. For a similar reason, Diana's victories in Girlfight ultimately ring hollow, and it's artificial and nauseating to watch Adrian transformed from a hopeful contender to a limp dishrag.
On the technical side, Girlfight stays true to its rough-hewn soul, evidenced by a lurching, manhandled camera and a musty array of decaying environments. There are also boxing clichés aplenty in the ringside segments, but Robert Shapiro's score keeps the images from feeling stagnant. If only it could have been mixed louder, to cover some of the stilted performances; our ill-tempered heroine only behaves like a human being late in the movie, when she's courting her beau or discussing her mother. For the remainder, we're stuck in the ring with a vicious sourpuss.