As the bell rings for another boxing movie – no doubt inspired by the surge in the sport’s Netflix popularity during the Fury/Joshua era – ‘Giant’ faces the tall task of stepping into the unmistakable shoes, (or on this occasion, leopard print shorts), of ‘Prince’ Naseem Hamed. The larger-than-life British boxer was a true superstar of the 90s, becoming a global phenomenon alongside other cultural icons of the decade, such as Michael Jordan, Tiger Woods, and Mike Tyson.
Famed for his flamboyant showmanship, acrobatic entrances (a trademark somersault over the ropes) and cleverly choreographed ring walks (including the use of a flying carpet), Hamed‘s arrogance was of ‘Marmite’ variety, with fans either tuning in to cheer him on, or in the hope he’d finally get his comeuppance. Either way, his PR pull was truly box office, and with Sylvester Stallone‘s ‘Balboa Productions‘ in his corner on this biopic, all looked set for Nas to conquer the box office in the same vein as his career-peak Madison Square Garden victory in 1997. The execution, however, lacks the same emotive charm as Sly‘s own legendary ‘Rocky‘ series.
The film certainly serves up some potent early body-shots. The complicated relationship between a young Hamed and his Irish trainer, Brendan Ingle, serves as the backbone for the 110 minute run-time. And while the racial undertones of early scenes prove a prominent reminder of the dangerous reoccurrence of history currently hanging like a dark cloud over the current political entanglement of the United Kingdom landscape, (flag-bearing groups graffiti over Hamed’s family corner shop, warning his Mother that there’s ‘no black in the Union Jack’), up steps Pierce Brosnan to portray the role of Ingle with aplomb.
Channelling his inner-father figure, the former 007 shakes off any remnants of his polished James Bond aura to fill the shoes of the no-nonsense coach, who runs a local sparring gym for amateurs and children. The setting is much more shaken than stirred, as Yorkshire locals and reporters step over sweat-soaked floors and spit-buckets to catch an eye of the emerging talent, Hamed, who Ingle takes in with boxing serving as both an education and refuge for the Yemen-born immigrant, in a bid to battle school bullies. With a waft of both ‘Billy Elliot‘ and ‘East is East’ in the air, the movie shines brightest in these formative openings. Fast forward a few years, and in steps Egyptian actor Amir El-Masry, as the adult ‘Prince Nas‘ fans grew to love.
The casting choice is a knockout success. El-Masry, flanked by Toby Stephens as promoter extraordinaire Frank Warren, hogs the screen with every scene, such is his uncanny resemblance to the brash Sheffield slinger. Not only can he talk the talk, smirking through every smart-ass comment in the same way as the trash-talk King (or should we say ‘Prince’), but El-Masry walks the walk. From the sway of his hips to the trademark shoulder drops, and slick signature footwork, he truly embodies Hamed, and at times, it feels like a Tardis has sent viewers back to the 90s to witness the real Prince Nas up close. With Ingle using the extreme Islamophobia of the angered crowds, who urge opponents to “knock the black out of him” to motivate Nas, the two conquer the globe together, with Hamed taking the WBO, IBF, and WBC titles as the featherweight Champion of the World.
But in certain fight scenes, punch choreography feels rushed and lacking the budget of rival silver screen flicks such as ‘Creed‘, Jake Gyllenhaal‘s 2015 ‘Southpaw‘, and devoid of the official ShowTime PPV graphics which so professionally flashed across the screen in fight scenes during 2006’s ‘Rocky Balboa‘. In the same way ‘Bend It Like Beckham‘ was guilty of some extremely dodgy goalkeeping during the finale free-kick scene, ‘Giant’ feels – at times – like it may have needed an extra touch of a real Boxer’s glove on the panels of the edit suite, rather than just Hollywood media crew.
As Hamed reaches his peak, ‘Giant’ fails to follow the same trajectory, instead turning the spotlight on Brosnan (and his somewhat unconvincing accent). The character of Ingle is thrust into the spotlight during the breakdown of his complicated boxer/trainer relationship with Hamed, and we only truly see the remaining third of the movie through his own eyes, rather than our lead character. In the rare moments we do get to see Hamed‘s own feelings regarding a situation besieged by fame, greed, and family politics, the moments are too fleeting and there’s a sense of a deeper scratch needing to be itched. The only appearance of Naseem‘s Wife, and Child, for example, come within a 20 second cameo during the movie’s finale.
Despite this, ‘Giant’ goes the full 12 rounds with an entertaining and fast-paced feel, offering fans a glimpse into the rise and fall of one of Boxing’s most controversial and undeniably raucous characters. Both El-Masry and Brosnan carry the film expertly through the key stages of Prince Nas mania, and highlight the delicate line between discipline and silk pyjamas for professional athletes.
How does Giant compare to your favourite films of 2026 so far? Email [email protected] for your thoughts on this movie, and this review!
