67
The Good Son is Mancini’s mea culpa memoir; a grand act of self-vindication that succeeds because the boxer is sympathetic and asks respectfully for forgiveness and absolution.
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What are critics saying?
20
Mancini, who served as an executive producer, is glorified and exonerated, yet it's his inability to render either process interesting that ultimately sinks the picture.
63
New York Post by Farran Smith Nehme
The final scenes, when Mancini meets Kim’s son, have the awkward feel of an “Oprah” episode, with the editing and music suggesting a catharsis that isn’t always backed up by what’s on-screen.
80
Los Angeles Times by Gary Goldstein
[A] colorful, absorbing documentary.
60
New York Daily News by Joe Neumaier
The film winds up as a chronicle of uneasy forgiveness.
70
The Hollywood Reporter by John DeFore
A compelling tale even for viewers with no interest in the sweet science.
50
Washington Post by Michael O'Sullivan
The odd and disturbing thing about the film is just how comfortable [Mancini] — and we — have become putting moments on camera that, once upon a time, were meant to be shared between two people.
80
Director Jesse James Miller’s bio of ‘80s-era World Boxing Council lightweight champ Ray “Boom Boom” Mancini connects on emotional levels in the telling of an up-from-nothing brawler whose colorful career climaxed in tragedy.