Directed by Eddie O'Flaherty, the film was written by J. P. Davis, who sold the script only on the condition that he himself would play Tommy.
Fighting Tommy Riley opened in limited release on May 6, 2005 to generally positive reviews, with Jones's performance as Marty frequently singled out for praise.
He works laying computer cable and earns money on the side as a sparring partner in a local gym.
Marty realizes that Tommy faked his injury because of the poor coaching and abuse coming from his stepfather, who was serving as his cornerman.
Tommy breaks down in tears but stops crying when, upon catching sight of a mirror, he sees the image of Marty standing behind him.
J. P. Davis was inspired to write the script after observing an older trainer working with a young boxer in a Brooklyn gym: "I watched the guy spar.
"[2] Drawing upon material originally created for his critically acclaimed one-man off-Broadway show "Dreamer Awakens," Davis completed the script in 1999 and moved to Los Angeles.
Davis secured representation through his efforts and received a number of studio offers,[4] but, in a story reminiscent of Sylvester Stallone's experience with Rocky, he refused to sell the script unless he was signed to play the title role.
[3][6] The film was shot in Los Angeles on high-definition digital video[3] on a budget of $200,000 and was O'Flaherty's feature debut.
[7] Fighting Tommy Riley received generally positive reviews, with Eddie Jones frequently singled out for his performance.
Variety gave the film an overall favorable review, citing Jones in particular for "personally push[ing] the movie to a higher emotional plane."
Davis and Tayler are also praised, the former for "grow[ing] into [the] role" and the latter for her "pro job at playing counterpoint" to Jones.
Collectively the cast, but especially Jones, is said to elevate the picture above being a "standard drama on the sweet science with the usual tropes.
"[8] The San Francisco Chronicle largely agreed, calling Davis "a Van Damme who can act" and Jones "never less than convincing" as well as praising director O'Flaherty for "coach[ing] solid performances from his small cast and mak[ing] the most of the handful of up-close, well-choreographed fight montages.
"[5] The Los Angeles Times was even more effusive, citing Jones as "unforgettable" and "in such command of his acting skills that Marty's every gesture, look and movement is expressive and revealing," Davis' script as "exceptional" and his performance "no less fully realized" and O'Flaherty's direction as "subtle...intense and convincing."
[9] Sports Illustrated called the film "stylish and well-paced" despite its limited budget and echoes others' praise for Jones's "nuanced, intense performance," but (without mentioning the plot point of Marty's sexual advance) pinpoints the retreat to Marty's cabin as when the script "starts to look and sound like beginners' work.
"[11] Strongly dissenting was the Village Voice, calling the film "[o]utrageously sentimental and retrograde" and in need of "serious vetting by [LGBT media watchdog organization] GLAAD."
"[13] Cinematographer Michael Fimognari won the Kodak Award for Cinematography at the 14th Annual Hamptons International Film Festival.