Top 10 films of 2011 part 4 and announcements

1. Captain America: The First Avenger

The weak, scrawny and sickly Steve Rogers, desperate to do his part in defending his country during World War II by fighting in the military but is refused time and time again due to his stature. He finally gets lucky after being recruited for the Super Soldier program, a government funded experiment designed to create the ultimate soldiers. After proving his newfound capabilities in the field, Steve becomes Captain America and leads a team of commandos through enemy territory in a battle against Nazi science and weapon division, HYDRA.

Mere words cannot describe my love for this film but I feel the need to preface this choice with the claim of how exclusive this film worked for me on a personal level. I loved this movie. I loved everything about it.

I love it’s approach of idealism. The world that “Captain America” presents is black and white. It’s story is simple on the surface, that of an idealistic patriot and general nice guy fighting the closest thing that humans have ever gotten to evil, the Nazis. Rather the complexity of Cap’s character stems not from a test of his morals which are unyielding throughout the film but from his journey to find a way to fulfill what he believes his destiny is. His character and hard work are shown by his will to fight for his opportunity to fight an evil that feels very real and very human as opposed to being a card carrying cartoon villain.

Director Joe Johnston’s (The Rocketeer, October Sky) eye for the mid-20^th century period creates a film that harkens back to the days of old adventure serials and Hollywood filmmaking similar to them (See and compare with Star Wars and Indiana Jones). Steve Rogers and his cast of characters, from The Howling Commandos to his superiors and even his villains are brought to life in a world not quite meant to feel like our own but with a similar feel. Yet when it links back to the rest of the Marvel Cinematic Universe in a scene that packs a bit of emotional punch, the transition is seamless and organic.

Furthermore, it’s taken an approach to superhero filmmaking that I can only hope becomes the standard of the genre; not making the superhero an actual superhero. In a vain similar to Christopher Nolan’s Batman, whom focused only on taking out organized crime and “Thor” showing the trials of a humbled god that just happens to fall into the role of a temporary defender, Captain America is a soldier at war before he becomes anything remotely resembling a superhero. “Captain America: The First Avenger” is an Adventure movie set in World War II and focus less on turning its titular hero into a cookie cutter watchdog of the people (I’m looking at you Green Lantern) and more on translating his origin and purpose within the comic books into his film profession.

And on top of it all, every performance is simply pitch perfect. Chris Evans nails the wide-eyed idealism of Steve Rogers while still coming off as a mature adult. He’s idealistic but not naïve in regards to the way that the world works and when push comes to shove, he does an excellent job when he’s put into action. I can only hope that he sticks with this role over another crappy “Fantastic Four” movie. The camaraderie between The Howling Commandos feels genuine, the budding relationship between Steve and Agent Peggy Carter, played by Hayley Atwell, is actually touching, and Dominic Cooper as Howard Stark steals the show every time he’s onscreen, making what could have been throwaway continuity porn into a role that enhances the films of its sister series. And on an off note, kudos to the writers for reinterpreting him as a character rather than use the douche bag Howard of the comics.

It may seem odd but I genuinely found “Captain America: The First Avenger” to be one of the few perfect films that I’ve seen in a while. There are plenty of things that I would have added to it, such as fleshing out the Howling Commandos’ characters, and showcasing a few more action set pieces, but there isn’t a single thing standing that I would want to change. The films taking the positions on this list have been swapped and rotated countlessly over the course of the last month but the only constant I had going in was that this film was going to be at number 1.

Overall, I would say that 2011 has been a rather solid year for movies. It didn’t exactly blow me away the way that 2008 and 2009 did but it was without a doubt more than enough to make up for the abysmal 2010.

I’d like to think that with this year came a rise in quality of blockbuster films. A few movies here and there notwithstanding (Green Lantern, Sucker Punch, and Transformers 3 are just a few that come to mind), there appeared to a general trend in using the budget of a film to enhance its quality rather than using the money as a crutch.

Unfortunately, there seemed to be a bit of a lack of quality animation this year. Excluding a few gems like “Rango” and “The Adventures of Tintin” the selection was surprisingly limp. “Kung Fu Panda” suffered a case of sequelitis and with “Cars 2”, Pixar’s perfect record has been stripped.

It’s a shame that this year has been so poorly received financially compared to the previous year considering the significant bump in quality but I digress. 2012 is looking to have some great hits on its hands so here’s to hoping for the best.

Furthermore, I myself hope to carry the New Year’s spirit and apply it to my work on this blog. I fully acknowledge the missteps I’ve made within the last year and am aiming to move on and improve in terms of consistency. I make a promise to you the reader right now; This year, due to an increasingly busy work schedule, I may not quite be as active as I want but I will finish what I start. And with that said readers, have a Happy New Year, and I’ll see you on Wednesday for the start of Crapshoot 2012.

Top 10 films of 2011 part 3

4. X-Men: First Class

Now we’ve hit the top dogs; the cream of the crop of what the year had to offer. If anybody’s been following my posting before, than number 4 should be of no surprise to anyone. How one makes the fifth entry in a pretty hit and miss franchise the best of the series is beyond me but somehow, “X-Men: First Class” has defied the impossible and somehow broken the X-Men franchise’s recent downward spiral.

Telling the story of Mutant existence first becoming public knowledge, “X-Men: First Class” follows the story of a younger Professor X and Magneto, working with the CIA to train Mutants to combat rising mutant terrorist Sebastian Shaw and his Hellfire Club while slowing building the foundations of what will eventually become an institution.

Where can I even begin to describe this one? I could gush over it for hours simply for making the X-Men relevant again but sheerly on a level of filmmaking the film is astonishing. By setting the film as a 60s period piece, director Matthew Vaughn was able to adopt the aesthetics of spy and espionage thrillers of the time, allowing the film to look more exaggerated than its predecessors without looking cheesy. This results in the first X-Men film that actually looks like an X-Men film. And yet despite the successful transition of comic book aesthetics, the film manages to retain all of the substance of a real film.

The political intrigue in regards to the mutant situation and how it relates to our own history is fascinating. It kind of reminds me of the things that I would have liked to see in a good “Watchmen” movie. It also addresses the issue of recruiting teenagers to fight battles to protect countries and how significant their status in society is in regards to their abilities, and the effect that this has on them as young adults that still have significantly more maturing to do. Despite being the origin period of these questions within the universe, it brings them in and studies them even better than the good X-Men movies ever did.

 The primary focus of the entire film however boils down to the relationship between its three main characters; Charles Xavier, aka Professor X, Raven, aka Mystique, and of course Erik Lehnsherr, aka Magneto. The chemistry between James McAvoy and Michael Fassbender as Xavier and Lehnsherr respectively is astonishing, selling their bond of friendship faster than Patrick Stewart and Ian McKellan did across three movies. This Chemistry only serves to heighten the character drama in regards to their ideologies pulling the two in completely opposite directions. Jennifer Lawrence’s performance as a young and insecure Mystique compliments their presence perfectly, as she desperately seeks the approval of the both of them until she realizes that eventually, she will have to choose.

In a year full of surprises, never once did I believe that a rushed X-Men movie would end up in my top 5, yet here I am, praising Matthew Vaughn, director of my last year’s number 9 film “Kick-Ass”, yet again for providing me with my fourth favorite film of the year.

3. Hanna

Raised from birth by her father to become a skilled assassin to take on a specific mission that will allow them to live normally, 16 year old Hanna has lived her entire life in the harsh environment of the Finland wilderness. When she finally accepts the mission that her father has had planned out for her since she was young, her journey will force her to cope with her first exposure to civilization and question the things that she truly desires out of life as she makes her way to her kill and across Europe to live with her father again, this time, with no mission looming over her future.

As the above synopsis would lead you to believe, “Hanna” is more of a coming of age film than an action thriller. The majority of the film is a study of Hanna’s character as she interacts with the world around her, being exposed to civilization and human contact for the first time and as such, allowing her human nature get the best of her. Along the way to her final destination in Germany, she befriends a family that she begins to travel with. She acknowledges that logically, she should have kept moving on her own and avoided human contact as much as possible but her natural curiosity and desire to be loved and acknowledged leads her to make decisions that her training has taught her better than to accept. These elements explored within an unusual set of circumstances are amongst the highlights of the film.

That’s not to say that the film is devoid of action; it has a fair share of it and it’s all pretty damn well coordinated but the star of the show is Hanna herself and she is the glue that holds together your interest in everything that occurs within the film.

The drama is carried almost primarily by Saoirse Ronan as the titular character. She manages to be socially awkward while still retaining the feel of a trained and dangerous assassin. Of course this also helps in sympathizing with her very being. Although she has been denied all of the comforts and staples of childhood, she has been raised not know any better so every disturbing murder and escape from authority that she carries out is only done because she genuinely believes that what she is doing is right. Her compelling performance is bolstered by Eric Bana’s portrayal as her father, a man with an obvious agenda that realizes he needs to use his daughter to achieve his goals but is saddened to do so as well.

The best way to really describe “Hanna” is fascinating. It’s not the type of film that you jump up and down for in excitement but rather one you appreciate quietly while analyzing the different parts of what makes it function. I knew I liked it when I was done but it grew on me the more I thought about it, ultimately earning its number 3 slot on the list despite an odd twist regarding Hanna’s origins and a slightly abrupt ending.

2. Midnight in Paris

Quite frankly my number 2 film has left me speechless. Probably even more so than my number 1 film of the year. Everything about this film is just beautiful. The acting, the score, the camera work, the pacing, the writing, all of the above are top notch and go into what makes “Midnight in Paris” such a great film.

Career writer Gil Pender visits Paris while working on his first major novel. While taking in the beauty of the city he is invited off of the streets by a passing by cab to a club that is seamlessly takes him to 1920s Paris. While there, he meets and finds inspiration amongst his idols of the time period, such as Ernest Hemmingway, F. Scott Fitzgerald, and Salvador Dalí, all while learning just how much the story he is writing pertains to himself.

The best word I can use to describe this movie is charming. The musical score is one of the most endearing that I’ve heard this year while still serving a purpose within the actual storytelling of the film. Paris’ scenery is gorgeous and yet always distinct between time periods if you pay attention to the little details.

Gil’s obsession with Nostalgia comes off as a poignant contrast to our own nostalgia obsessed culture, making the point across that no matter how far back we go, things will never be as great as we remember them. Furthermore the film perfectly nails the mental trials that writers go through while trying to work on a project, from writing about real life influences right down to subconscious influences. It almost feels like Woody Allen was writing a film about his entire career.

Any film that makes Owen Wilson relevant to me again has to be damn good. Besides him however, the numerous historical cameos steal the show. I went into this one expecting pure Oscar-bait but wow I couldn’t have been more wrong. The only thing keeping it from number 1 is…

Top 10 films of 2011 part 2

7. Limitless

This is where we enter the territory of the surprises; films that I didn’t expect but so much from and got far more than I ever would have imagined. Number 7 is such a film; when I heard it’s premise was based around the urban myth that the human brain only uses about 10% of its full capabilities, I was immediately resistant to anything that it had to offer, a resistance that only increased once I learned that the lie that the entire film is based on, isn’t even accurately represented. It had to have been pretty damn good to transcend all of those problems.

Struggling writer Eddie Morra (Bradley Cooper) is, for lack of a better word, a loser. He’s mooching off of his girlfriend (Abbie Cornish), to finish a book that’s been long overdue yet he hasn’t even started on. His brilliant but misguided, he eventually stumbles upon a drug referred to as NZT, which alters the human neurochemistry to take advantage of 100% of the brain as opposed to the 20% humans normally have access to. This heightened intelligence puts him on the fast track to finishing his book but furthermore, seeking more prestigious career opportunities, all while dealing with others that want in on his success secret.

Limitless is a film that is far from perfect. While things start off a little bit slowly once the focus is put on Eddie’s life, things hit full swing in the second act only to be dragged back down by one of the weakest, telegraphed, Hollywood endings to a film that I had seen in god knows how long. And yet for all its flaws, when it’s at its height, it is absolutely stellar.

The story covers Eddie’s rise to and subsequent fall from greatness that results from his growing reliance on NZT, in addition to examining the obviously dangerous side effects that result from his dosages of it, as well as studying his addiction to the power that he is being provided through it. The editing is the star of the show, making every dosage of NZT that Eddie takes an almost nauseatingly memorable trick compared to the dull grey and bland world that he finds himself in whenever he isn’t on the drug.

Performances will probably be the biggest shocker of the entire film. Bradley Cooper manages to prove himself a serious actor, believably selling a protagonist with a lot of potential that fails to understand exactly how to actualize that potential for his own good, as well as helping to pull off a drug addiction story that actually feels realistic and without melodrama. Robert De Niro as his business partner also gives a surprisingly effective performance, demonstrating an acceptance of his place in the supporting cast and not stealing the spotlight from Bradley Cooper despite easily being capable of doing so.

Overall, “Limitless” transcends the flaws of its premise to become one of the most endearing sci-fi films that I’ve seen all year. I admit that the story of a loser writer that doesn’t know how to actualize his potential hits kind of close to home but that doesn’t make the film any less admirable on its own merits. Had its ending been less of a cop out, I might have been tempted to put this as a front runner for number 1 but as it stands, it’s still a great film. 

6. The Girl with the Dragon Tattoo

I really need to learn to stop doubting any project that David Fincher has his name attached to. Every time I see a trailer for one of his movies, I say in the back of my mind that it doesn’t look to be noteworthy only to watch it and have it land smack dab in the middle of my list. As of the writing of this entry, the final list that you are reading has gone through several revisions before reaching the films that you see before you but the last list before this final iteration was written before I had seen the current number 6 film, which meant that “The Girl with the Dragon Tattoo” snatched this slot away from a previous film, leaving me with a fully written entry that I had written for nothing. Only a David Fincher movie has the power to make me do that.

With his reputation recently tarnished in a libel case, journalist Mikael Blomkvist (Daniel Craig) is brought in and paid handsomely by a retired CEO for his keen eye for detail in order to solve the decades old mystery of his granddaughter’s apparent murder. Assisted by the brilliant but reclusive researcher, Lisbeth Salander (Rooney Mara), the two stumble upon a conspiracy that reveals just how much dirty laundry the family has been keeping under wraps.

The mystery told is incredibly tight and well crafted. There are some outcomes that can be logically drawn but the twists and turns are never telegraphed directly to the audience. In addition to the tight direction of the film, I have to further give it credit for its realistic portrayal of the effects and consequences of sexual violence, a topic that it could have easily shot itself in the foot with.

The actors manage to keep up with material that they’re handed perfectly, with Rooney Mara portraying a believably asocial hacker with a distrust of men and a disturbing past. What really wowed me however was the film’s elevation of Daniel Craig in my eyes. Don’t get me wrong, “Casino Royale” is one of my favorite films and I’d say that Daniel Craig is easily the best Bond since Sean Connery but I have yet to see him anything beyond the Bond franchise that I really enjoyed until now. That’s not to say that his performance was necessarily legendary but it’s nice to that he has a good deal of range.

From what I’ve researched this version of the film seems to be slightly more faithful to the original book than the 2009 Sweedish version of the film, which does unfortunately bring me to my biggest problem with the film. I’ve had several friends who have both liked and disliked the novel state that one of the biggest problems with it is the jarring shift of perspective between Salander and Blomkvist. If this is true, I dread the thought of even touching the thing because as brilliantly made as the film is, the first half of it is really, really, slow. Fincher’s direction is as tight as ever but I can’t help but feel that the flaws of this film are derived from screenplay, as despite being well paced and shot, following two completely unrelated stories stealing screen time from one another can get dull really quickly.

Despite the slow start it gets off to however, the film is atmospheric, tense, and incredibly well scored musically and I can’t wait to revisit once it hits the home market again.

5. Attack the Block

Easily the weirdest movie that I’ve seen all year, the number 5 film was originally reserved for another film of its kind, that of the adventure subgenre of kids getting pulled into zany adventures that are way over their head. When I saw “Super 8” earlier this year, I was taken aback by how extraordinarily JJ Abrams managed to perfectly capture the feel of classic Spielberg family films. Then I saw “Attack the Block” which put the still well done, “Super 8” to shame.

On a seemingly ordinary night, a gang of teenagers are attacked by an alien creature that they manage to kill. The night goes from ordinary to a nightmare as more creatures of the animalistic species begin a secret invasion of the inner-city of South London, which the kids spend the entire night running from and trying to survive.

“Attack the Block” is easily the biggest surprise of the year for me. It may be one of my favorite sci-fi films of all time. It’s funny, fun and a fresh take on a set of tropes that have been long tired out. The rather sizeable cast of characters all have different moments to shine as they trek all over the city trying to survive and fight the invaders. The real tension settles in with the revelation that everybody can die, once the shocking and gruesome death of certain main characters occur.

If it sounds like I’m being vague, there’s a good reason for it. “Attack the Block” was a UK film that had a rather limited release and poor marketing. It also marks the directorial debut of director Joe Cornish. The film is probably one of, if not the most unique that I’ve seen this year and I highly advise that you see it for yourself as the highlight of the film is really watching the reactions of the gang in ways that any spoilers would significantly detract from. It’s easily my pick for most underappreciated film of 2011.

Top 10 films of 2011 part 1

Another year is upon us and as per tradition, I've a new crop of films to draw attention to, along with my thoughts on the year as a whole and a few extra announcements afterward. This year will be a bit different than last however. As I wrote this list, I began to notice certain trends in regards to the films that appeared on it. And so, to better conform to the tight schedule that I've been on lately, I've decided to split this list into three pieces ending with the announcements. With that out of the way, Lets start with the films that were good in every conceivable way but lacked just a certain kick that I seek out of the higher tier films. Without further adieu, I present my top 10 of 2011, starting with



10. Thor

If I haven’t made it abundantly clear by my previous posts, I have an undying love for the superhero genre. My bookshelf is loaded to bursting with comic books and graphic novels of heroes of all types but within the pantheon of heroes, there have always been several characters whose appeal has always just baffled me. The Norse God of Thunder on Earth is such a character I failed utterly to grasp until I watch what may have been the most unique superhero movie I’ve ever seen, earlier this year.


The adventure of Thor, afformentioned Norse god, to earn back his godly status has unexpectedly worked its way into one of my favorite superhero movies of all time. Kenneth Branagh directs Thor’s fall from and rise to power in what is easily the most nontraditional superhero movie ever made and the shakeup to the genre that I’d been waiting for, at the time of its release, since “The Dark Knight.”


The keyword here is nontraditional. Branagh brings his Shakespearean sensibilities to a superhero that’s significantly different from typical costumed crime fighters. Thor’s tie to otherworldly cosmology is an element that has been brought into the relatively down to Earth setting of the Marvel Cinematic Universe spectacularly well, thanks to the low key setting of a small New Mexico town on the mortal plain of Earth, serving as a perfect contrast to the bombastic and larger than life feel of the realm of the gods, Asgard. The two worlds are brought to screen and blended together seamlessly, yet not distractingly, putting the focus of the film purely on the character drama, which is what makes the film so unique within its genre.


Branagh, known for his direction of numerous Shakespeare adaptations (“Hamlet” and “Henry V” being amongst the best) has essentially led him to create a Shakespearean superhero film. “Thor” really isn’t an action movie. It has incredibly well coordinated action sequences but it’s not about moving the hero from set piece to set piece. The movie studies Thor’s character through his interactions on Earth after being banished for his arrogance and insolence and follows his gradual humiliation and acceptance of what appears to be his new fate as a powerless mortal on Earth amongst the humans that are teaching him this newfound humility, all while showing the effects that his rashness has on everyone around him.


The story is rather simple but is executed with solid writing, excellent visuals, and most importantly, great acting. Chris Hemsworth’s Thor strikes a perfect balance between a loud and charismatic personality and understandable human arrogance, giving a performance feels larger than life without ever becoming hammy, while Tom Hiddleston’s Loki provides the film with a villain that is not a card carrying evil doer but a three dimensional empathetic character. All of the other performances combined with the incredible leads elevate the simple yet solid writing into a production that I won’t forget anytime soon.


And all of this is simply my condensed praise of the film. I could go on for pages about all the little things this movie accomplishes that I’ve been waiting to see for years but I digress. I found the film unexpectedly great and the only thing keeping from rising on the list isn’t so much what it didn’t include but rather what it chose not to. Just as the flaws of the film began to settle in my mind, namely its slightly rushed pace and lack of screen time for side characters, I decided to take a look at my DVD copy’s special features. Of the extras included in the DVD and Blu-ray was almost an hour of deleted footage.

For brevity’s sake, I’ll spare you the details, as most of the scenes can be found on Youtube or an actual copy you can go out to rent but suffice it to say, they were almost more effective than the movie itself, on their own. Had they been properly integrated, maybe “Thor” would have taken my film of the year but as it stands, it lacks the power to climb the list any further but has secrured its number ten slot based on uniqueness and its successful melding of magic, fantasy and cosmology into a setting otherwise defined by scientific means. It may not have set the world on fire but I certainly have no regrets paying to see it in theaters and on DVD.



9. The Devil’s Double

Even as I write this entry on the list, I find I myself in a bind just how to describe it. Based on the book and life story of Latif Yahia, “The Devil’s Double” tells the story of Latif’s life during his tenure as the body double of Uday Hussein, one of the sons of Saddam Hussein. Forced into his job against his will, Latif spends his days hanging out with Uday, pretending to be his friend for the sake of his own survival and gradually begins to realize that Uday isn’t simply corrupted by power, he’s downright psychotic. Latif spends years watching Uday kill, kidnap, and rape all the men, women, and even children, that he desires, and doing so like a gleeful child that just doesn’t seem to grasp how wrong he is, all the while contemplating the perfect time to make an escape and, if need be, kill him.


The dynamic between the characters of Latif and Uday almost plays out like a reverse Training Day. Uday is insane and just about the closest thing a human being can get to actually being evil and there is no redeeming him what so ever. He is without a doubt one of the scariest antagonists that I have seen in years. He would gun you down with a lighthearted smile on his face, not because of anything personal, but simply because it would be a fun way to pass the time. Every second he spends on screen makes you cringe in fear and wonder just how the hell anyone can get out of this scenario alive. It’s well paced and remains amazingly tense from start to finish, almost making you forget that, being based on a true story, Latif clearly found a way out.


What elevates this movie however lies squarely on the shoulders of its two lead characters, who are played by the same actor. Through masterful editing, Dominic Cooper plays both Uday Hussein and Latif Yahia. The two are onscreen together a lot, which means this couldn’t have been an easy feat. Somehow however, Cooper turns in two incredible yet highly distinct performances, and does so with such conviction that within minutes, you forget that the two people who are frequently at each other’s throats are the same person.


“The Devil’s Double” is one of the most intense character dramas that I’ve seen in years and it handles itself extremely elegantly. Being a western film made by a New Zealand filmmaker and distributed by an American company, there seemed to be a somewhat high capacity for it to drag politics into the equation and vilify Iraqi culture. Fortunately, the film takes the high road and avoids the topic of Saddam’s controversial rule as much as it possibly can, focusing on the demented nature of his antagonized son. At the same time, I commend it for not border lining on snuff film territory like a certain film of recent history (*cough*SerbiaFilm*cough*). If you can stomach its intensity, and it can get rather intense, I recommend it whole heartedly.




8. Warrior

I made the claim last year, when placing “The Fighter” at number 5 on my best of 2010 list, that I wasn’t very fond of sports in real life. Unremarkably, in the year between these lists, that fact hasn’t changed. Even the increasingly popular MMA is something that just barely attracts my interest. Therefore, when I place “Warrior” in the number 8 slot, you’ll know that there’s more going on than a man in a tournament in which he must beat the living hell out of his opponents.


Tommy, Brendan, and Paddy Conlon (played by Tom Hardy, Joel Edgerton, and Nick Nolte, respectively) are an estranged family that can’t let the past go. Paddy, who has been sober for quite some time tries to in vain to make amends with his sons, meanwhile, Tommy refuses to forgive his brother for staying with their violent alcoholic father when they were children rather than stay with their mother and Brendan is simply caught in the middle of things, still working to set boundaries between his father and his family and work toward earning his brother’s forgiveness.


Bet your wondering where the MMA part comes into play. Tommy and Brendan are former professional fighters that have moved on with their lives but are thrust back into the profession to win a 5 million dollar prize that will help them fulfill their own obligations; giving the widow of one of Tommy’s best friends from the Marines an income to fall back on and allowing Brendan to pay off his defaulting mortgage to keep his family’s home.


The sport in this drama is more of a device than an actual focus. At the time of the tournament’s announcement, Tommy and Brendan are both retired from professional fighting and as such, only return reluctantly for reasons pertaining to their own life drama. Watching the drama unfold between this broken family and watching them slowly drift towards the possibility of reconciliation is more compelling than the actual fights themselves, which are already well coordinated and shot, keeping it from looking too close to something that could be watched on tv.


The drama is sold by the incredible performances turned in by all three leads, with special regards to Nick Nolte, whom I barely recognized at first. By straying just a bit from typical conventions, Warrior manages to set itself apart from most Sports dramas and is well worth a watch