
This feature documentary focuses on Ray Mancini's own personal account of his families history, his father's legacy and Mancini's own meteoric rise and fall. From the unsolved killing of his brother to the tragic Deuk-Koo Kim fight, which would alter Ray's life forever, "The Good Son" excavates mysteries all creating an intimate history; a saga of father's and sons, loss and redemption. Featuring Mickey Roarke, Ed O'Neil, Sugar Ray Leonard and historic interviews with Kim's o... (Full plot summary below)
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This feature documentary focuses on Ray Mancini's own personal account of his families history, his father's legacy and Mancini's own meteoric rise and fall. From the unsolved killing of his brother to the tragic Deuk-Koo Kim fight, which would alter Ray's life forever, "The Good Son" excavates mysteries all creating an intimate history; a saga of father's and sons, loss and redemption. Featuring Mickey Roarke, Ed O'Neil, Sugar Ray Leonard and historic interviews with Kim's own family, including his own son, Jiwan Kim.
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| VarietyRob NelsonDirector 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. |
| The New York TimesNicole HerringtonJesse James Miller’s moving documentary “The Good Son” is like a brisk novel with a bigger-than-life protagonist. |
| The Hollywood ReporterJohn DeForeA compelling tale even for viewers with no interest in the sweet science. |
| IndieWireGary M. KramerThe 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. |
| New York PostFarran Smith NehmeThe 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. |
| New York Daily NewsJoe NeumaierThe film winds up as a chronicle of uneasy forgiveness. |
| Washington PostMichael O'SullivanThe 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. |
| Village VoiceCalum MarshMancini, 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. |