Who doesn’t love a sports biopic? An uplifting tale, getting us off the edge of our seats, cheering every hit, every blow, every knockdown, and every time our hero gets back up. They work for a reason, and that’s why Giant, the upcoming film from executive-producer Sylvester Stallone (Rocky, Creed) and acclaimed filmmaker Rowan Athale (Gangs of London), should be at the top of your watchlist. As for the giant in question? That’s Prince Naseem “Naz” Hamed, a man for whom entertainment and sporting glory came hand in hand.

Hamed was more than just a boxer, though. He turned entrances, movement, confidence, and chaos into part of the show — sports entertainment, for those who know that famous wrestling parlance. Now, Collider is thrilled to exclusively reveal the trailer for Giant, with Amir El-Masry stepping into the role of Hamed and **Pierce Brosnan** playing the trainer who helped turn him into one of boxing’s most unforgettable figures. The official synopsis reads as follows:

“With his unorthodox style, cocky persona and sheer dominance of the sport, Naseem faced down the abhorrent racism and islamophobia that swept Britain in the 80’s and 90’s, to become a global sporting icon, both inside and outside of the ring. The film explores the unlikely and tender relationship between Naz and his trainer Ingle – a steel industry worker who ran a humble boxing gym in a church hall in the North of England; and the instrumental role Ingle played in Naz’s road to success.”

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

Hamed turned pro in 1992 and quickly became known for his ridiculous reflexes, hands-down style, switch-hitting, huge punching power, and wildly theatrical ring. He won the WBO featherweight title in 1995 by defeating Steve Robinson, and went on a huge winning run,

defending the belt repeatedly and knocking out fighters, including Manuel Medina, Tom Johnson, Billy Hardy, Kevin Kelley, Wilfredo Vázquez, Wayne McCullough, Paul Ingle, Vuyani Bungu, and Augie Sanchez.

The Kelley fight at Madison Square Garden was his major U.S. coming-out party. It was chaos: Hamed was dropped multiple times, Kelley was dropped multiple times, and Hamed eventually won by fourth-round knockout. You want to see what he was all about? That’s the fight to watch. At his peak, Hamed unified parts of the featherweight division and was recognised as one of the best pound-for-pound fighters in the world. The turn came in 2001 when he fought Marco Antonio Barrera. Barrera outboxed him over 12 rounds and handed Hamed his first and only professional defeat. He retired soon after, with a final record of 36 wins, 1 loss, and 31 knockouts. His run at the top was short, but by goodness, it burned bright.

Giant releases on May 22 in select theatres and on VOD. Check out the trailer for the movie above and the poster below.

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Prince Naseem “Naz” Hamed

Toby Stephens