Critic's Grade: D-

The thing that surprised me the most about "Undisputed" was not the boxing, the performances, or the stylistic influences, but the fact that Jerry Bruckheimer is not credited as a producer. I mean, come on: everything, and I do mean everything about this movie reeks of the producer's usual tactics, like the big, flashy production values, the dimwitted plot that goes down in the first round, the underdeveloped characters, and cheap thrills, this time centered on boxing matches. There's only one thing missing from this movie that such films as "Gone in 60 Seconds" and "Con Air," stupid as they were, possessed: a fun factor.

The film is directed by Walter Hill, who from the very beginning goes right to work keeping us from attaining any amount of pleasure from his latest venture. The opening credits are a mishmash of various elements, including everything from shots of a boxing match taking place within prison walls (now we really know where our tax dollars are going, America), to close-ups of various prisoners complete with read-outs of their character names, date of conviction, and their crime (we also get a full onslaught of subtitles telling us dates, locations, and everything else the filmmakers thought we'd be too stupid to realize). And as if that weren't enough reason to gouge our eyes out, the incessantly stupid hip-hop soundtrack is always there to remind us that the film is riddled with cliche even in its stylistic influences.

The gist of the story centers on Monroe Hutchins (Wesley Snipes), the boxing champion of California's new maximum security prison, Sweetwater. Hutchins is the typical reclusive prisoner who spends most of his days quiet and unbothered, making buildings and bridges out of toothpicks and sticks (no, he's not a head case). Everything is fine and dandy in Sweetwater, until recently convicted Iceman Chambers (Ving Rhames), the "undisputed" world heavyweight champion, is transferred to the facility. Tempers heat up, muscles flex, punches are thrown, and pretty soon everyone is hungry for a matchup between Chambers and Hutchins.

Okay, for starters, let's get the usual, expected flaws out of the way, beginning with the ridiculous plot, so full of implausibilities and scenes of disbelief that it makes all the forgivable holes in the story of last year's prison-drama pleaser, "The Last Castle," look like pinpricks by comparison. A prison that hosts boxing matches, where boxers from other prisons come to spar off? A solitary confinement chamber where they completely weld the door shut from the outside? A warden who breaks under the pressure of a mob boss and allows his facility to substitute for Caesar's Palace? I don't think so.

Then there's the generic characters, who are nothing more than mere objects rather than human beings. Despite some commendable efforts from Snipes and Rhames, as well as some of the supporting cast, we never have any reason to give a damn about who's going to win the big fight, and who's going to make off with a nice chunk of change depending on the victor. Rhames is excellent in portraying Chambers' bravado and arrogance, and through the use of a subplot involving his claims of innocence against accusations of rape, we're meant to believe he has some redeeming value. But, the testosterone high soon wears off, and his "Who's your daddy?" attitude gets old too quick.

Snipes' Hutchins, convicted of a murder he committed out of jealousy and anger, is apparently the one we're supposed to identify with later in the film, but by the time we get around to his side of the plot, the disinterest level has plummetted drastically. When the final fight rolls around, we're left with no one to root for, and as a result, the big showdown has about the same punch and energy level as "Ali," another boxing stinker.

The supporting cast is filled with familiar faces who do nothing but sit there, stagnant, waiting for their lines, and reading them as if they don't believe in a word of it. Peter Falk is given the role of an imprisoned mobster who spends his days threatening people through his sources on the outside, and spouting swears every other word. Nichael Rooker is typecast as a cocky prison officer, while Wes Studi is completely wasted as Chambers' timid cellmate.

"Undisputed" may have some good performances, and those willing to suspend any and all disbelief may actually find the film to be somewhat enjoyable. Those looking for something more than just an outright waste of talent and style will agree with me when I say that this one stinks like a pair of boxing trunks. Apparently, Walter Hill has learned nothing since his directorial efforts in 2000's debacle "Supernova;" funnily enough, he, along with Francis Ford Coppola and Jack Sholder, chose not to be credited. Maybe he should have done the same here.

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