18 thoughts on “Video – Izu Ugonoh Knocks Out Will Quarrie (Knockout of the Year Candidate)

  1. What did you think of Campbell handling Coyle? I don’t know how good Coyle is, but Campbell seemed to have every answer to his pressure attack. Impressive talent who appears to be living up to his promise.

    • Coyle is a very limited British level guy, and Campbell was actually expected to win more easily than he did.

      That said, I was impressed and he’s one of the top ten or so prospects in the sport. A guaranteed future titlist and a probable future top star in British boxing

  2. Good to get your perspective. I find it harder to rate European fighters whom I see so infrequently and who aren’t really covered in the US-centric boxing press. Much as I like the Box Nation crew, they aren’t exactly unbiased, so there’s seldom a sense of a fighter’s true measure being taken during the broadcast. Mind, the same could easily be said about every boxing broadcast in English that I can think of. (How I miss Larry Merchant’s grumpy wit, always keen to bite the hand that fed him.)

    While Coyle got inside on perhaps too many occasions, I was impressed that the lanky Campbell seems to have a solid inside game, too, and did not wilt.

    • Boxnation may often be biased but they are infinitely preferable to the coverage of Sky, who aired Campbell-Coyle.

      Campbell has a ways to go before world level, but the Coyle fight was a good learning experience.

      I suspect Hearn will make Crolla vs. Campbell next summer, if Crolla can relieve Perez of his belt in their rematch.

      • Ah, right you are about it having been Sky. In truth I rarely note or recall the channel name — much easier for me is to recognize the voice of Jim Watt. He’s the one I am very mildly indicting, much as I like his commentary (barring his accent, which can be murder for me to parse). I do gather it is more in the way of fatherly affection for rising young fighters than, say, the kind of bias one can detect on HBO vis-a-vis the exclusively contracted talent.

        How to tell how good a fighter is, and where he stands in ranking, in the end remains a task best pursued outside the mainstream media, on sites like yours.

        Just caught the mid-1980s documentary Routine Pleasures by the Goddard collaborator Jean-Pierre Gorin. Not one I’d urge on anyone, but I remained with it as it pries into a corner of Americana that I find mildly insane, actually: the mania of grown men for running model locomotives around absolutely vast scale-model tracks that recreate cities, countrysides, industry, social life….while they themselves maintain a giant chalkboard onto which they write imaginary arrival and departure schedules that are barked over microphones. Trainspotters in miniature! Gorin tries to see their grimy virutaliized world as ominous cultural revanchism — geezers grasping for a lost Eden. I saw in it instead a kind of portrait of a generation mostly vanished now, but which I remember from boyhood and look on in retrospect with some compassion: guys like my uncles who’d known (and got up to) hell in the wars and longed now to lose themselves in pastimes, the more banal and busy-making the better.

        https://www.criterion.com/films/27947-routine-pleasures

      • Watt is probably the best of the Sky analysts/commentators, which isn’t saying too much. “Fatherly affection” is both an amusing and accurate characterization of his usual work.

        Sounds fascinating! Coincidentally, I came across Gorin (for perhaps the first time) recently when I saw an interview he conducted with Pedro Costa.

        Saw acclaimed documentary Amy recently, on deceased pop-jazz icon Amy Winehouse. Wasn’t that engaged cinematically, but it was a good portrait of a talented chanteuse & the odious individuals surrounding her who enabled her untimely death.

        Going to see The Battle of Algiers for the first time today, on the big screen!

        Did you enjoy the ending of True Detective? I loved the final two episodes (finale directed by Ireland’s John Crowley) & after initial disappointment, feel it was a respectable follow-up to an un-matchable first season.

  3. Ooh, Battle of Algiers on the big screen! Now that I would love. The closest I have come is to seeing it on a friend’s fairly big widescreen plasma. How’d you care for it?

    Lingering memories of when screens were screens: Kubrick’s 2001 and Lean’s Lawrence of Arabia seen on an original curved Cinerama installation, its mighty orca of a surface flanked by — wait for it — go-go cages! First place I looked up upon returning from living in Europe; in my absence they’d torn it down and put up another bland office tower. Idiots.

    Cooper Theatre Postcard Minneapolis, MN

    Haven’t got on with True Detective past episode five yet. Pleased to hear you rated it in the end; must discuss. Construction just ended here so it shall be a good binge straight to the finish very soon.

    Think I’ll see Amy too. I’m aware of her, from a distance. Seem to recall the performance enhancement specialist Pete Doherty was among her shadows. Speaking of docs, did you ever check out Adam Curtis? We put some academic friends onto him recently and they devoured his oeuvre in a month!

    Must correct my original dismissal of Mr Robot, btw, which took a turn for the better and is now formidably good. Sam Esmail for president, sez I.

    • A friend caused me to miss the screening. I was initially quite annoyed until I subsequently discovered that it was being screened off a Blu Ray disc…better than home viewing but not exactly the kind of theatre experience I want to pay for. I recall enjoying Pontecorvo’s ‘Burn!’ when viewing it years ago.

      Haha that sounds like my kind of cinema! The images on the postcard look fantastic.

      Enjoy the binge! Haven’t caught up on Curtis yet but will prioritize him now thanks to your reminder. I love Pete Doherty’s music: didn’t know much of Amy’s before the film, but she is a similarly tortured artistic soul.

      Also saw Last Temptation of Christ by Scorsese (scripted by Schrader) the other day. Hit & miss affair but typically artistically ambitious from the great duo.

  4. I liked Last Temptation too, despite its moments of flagging energy. I know the source material, and love Schrader’s work (less so Marty’s).

    Doherty is tragically underrated in my book. Have heard nearly everything he’s done including piles of demos. His talent, larger than many of his peers, has been rather eclipsed by his staggering (literally and figuratively, haha) life as a media flogging boy. But what a gift for melody, and as a lyricist no slouch either. He’s the first rock figure since Elvis Costello to really command my attention (jazz and modern chamber music are my things).

    Have you seen anything by the American director Samuel Fuller? Taking a first look at his work via the Korean war drama Steel Helmet. Criterion.com is not short of praise.

    • I’m surprised to hear that you don’t love Scorsese.

      Glad to hear you’re such a fan of Doherty. Libertines album #3 coming soon. Here he is performing on Irish television: https://www.youtube.com/watch?v=IrwphUy7Tq0

      Yes, I’ve seen 6 or 7 Fuller films, inc. Steel Helmet. I like his work generally, particularly the wonderfully unclassifiable Shock Corridor, and Pickup on South Street.

      • I know that beautiful performance (and overbearing interview that preceded it). Expectations high for new material, good luck to the likely lads this go round.

        How could I not rate the young Scorsese, particularly for the 70’s and 80s films among which is Taxi Driver. I look on that iconic film as his zenith (owed in large measure to Paul Schrader’s writing). It is emblematic of its time too, of an aesthetic that was also an acutely moral sensibility found in that dyspeptic and dangerous Hollywood in my youth. (Where my head was in high school: I recall finding Star Wars a fun bit of silliness, if forgettable. I judged it vastly inferior to another film I’d recently been to see — Saint Jack by Bogdonavich. Obviously I was miserably out of step with the coming 80s, haha.)

        After Goodfellas and the fine Cape Fear remake I fell out of love with Marty’s work. The problem, for me at least, is how he wandered away from the source of his art and started plodding along not-so-mean streets. His films became big, inert blockbusters, often with genteel anti-heroes, tidy resolutions and Rolling Stones songs. Marty understood the times, and blunted more than lost his edge. The Wolf of Wall Street is a bit of an exception, good on him for that one.

        I must look further into Fuller. Enjoyed Steel Helmet.

      • Haha Pat Kenny couldn’t resist asking about Kate Moss.

        Taxi Driver is one of my favourite films, a genuine masterpiece. Haha, I empathize with your high school self. At that age, I was already watching Tarkovsky.

        I really enjoy most of his post-Goodfellas work, so don’t agree with your feelings on Scorsese now. While his prime is obviously gone, he still remains a vital voice. I’m looking forward to a long-gestating dream project of his which is forthcoming, entitled Silence.

        You will enjoy this tweet from Steven Soderbergh’s inexplicably-named twitter account: https://twitter.com/Bitchuation/status/634192729388548096

  5. Liked that Soderbergh assessment and do agree. Admittedly I watch 1/100 of what’s on TV but if there were something equally brilliant on now I’d hope to have heard about it.

    Fair play to you on Scorsese, and Silence does look interesting. Jay Cocks is involved and that can’t be bad. Btw, I have the Bernard Herrmann score from TD and love to put it on, its rising and falling main theme swelling like a gargantuan pair of rotten lungs, haha. “All the animals come out at night…”

    • Happen to agree though that there is an element of the bloated, sterile epic about The Aviator (which I still enjoyed) and Gangs of New York (one of his few failures imo). I haven’t seen Kundun but admire The Departed.

      I wonder what he will do with the Sinatra biopic if it gets off the ground.

      • I would like to see him make the Sinatra biopic. He is old enough to know the score, so to speak, in a time when at last one is free to make an honest statement about Sinatra (without fear of getting fitted for cement shoes).

        Talking of that period, Frankie’s brutal heyday, puts me in mind of the Alexander Mackendrick masterpiece Sweet Smell of Success. (I’m also a huge fan of his glorious Ealing Studios pictures, so utterly different in tone to the brooding menace of McCarthyite America.) Hmmm, maybe Nicholas Winding Refn should direct this one. ๐Ÿ˜‰

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