Word: bundini
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...says, referring to the lucrative stand-up tour he did in 2001. "But I believe that with acting, people will find you if you have talent. And I have talent." Sure enough, Michael Mann eventually saw Any Given Sunday and hired Foxx to play the worshipful corner man, Drew (Bundini) Brown, in Ali. He drew plaudits--and more bad scripts. Then Taylor Hackford called...
...former trainer, was often on the set with Ron Silver, who plays him in the movie. Actor Jeffrey Wright closely observed Bingham, who was on hand to take pictures and help safeguard historical accuracy. Jamie Foxx studied tapes of Ali's late, drug-addled corner man Drew (Bundini) Brown. Jon Voight, who last summer hid himself under layers of prosthetics as Franklin Delano Roosevelt in Pearl Harbor, again endured hours each day in the makeup chair, this time disguising himself as Howard Cosell. The witty verbal sparring between Ali and Cosell provides some of the movie's most entertaining moments...
...Foxx's rendering of Brown is almost every bit as bold as director Michael Mann's film. Foxx, 34, studied videotapes of the champ's confidant, who died in 1987, and gathered anecdotes from those who knew him. An ace impersonator, Foxx also clowned around on the phone, as Bundini, with Ali himself. "You'd hear Muhammad laughing," recalls Foxx, "like he was talking to his old friend...
...supporting cast in Ali is overshadowed by the swaggering performances of ringleader Will Smith and Jon Voight as Howard Cosell. But if you look closely, you will see that the movie's most tragic and comic moments come from Jamie Foxx as Ali's corner man, Drew (Bundini) Brown...
...still, there is also great sweetness and appeal in Smith's work; the supporting cast, led by Jamie Foxx's Drew (Bundini) Brown, is strong and real. The boxing sequences are superbly directed by Mann and ferociously enacted by Smith and a variety of sparring partners. And maybe the slight air of cautiousness that clings to this very conscientious film is a good thing. It does not brutally impose itself on the audience as so many big, riskily expensive films do. It permits us, in the audience, our own reflections not only about its subject but also about the times...