The richest actor in Hollywood.

As the bell rang, Clifford Rothschild was still getting into position when Uwe Boll swiftly moved in with agile footwork and delivered a quick jab. Clifford didn't even have time to dodge, and the punch landed squarely on his headgear.

Although the headgear absorbed most of the force, Clifford still felt like he'd been hit by a car.

"Well done, Uwe Boll!" Leonardo DiCaprio cheered loudly, and Matthew also joined in, shouting, "Uwe Boll, use your backhand to take out that rookie!"

Unlike the others, Matthew had practiced boxing. Although he later switched

to mixed martial arts, he maintained a decent level of proficiency as an amateur boxer. From the first round of Uwe Boll's bout with Clifford Rothschild, it was evident to Matthew that Clifford was a complete novice, while Uwe had clearly undergone professional training.

Sure enough, in the next moment, Uwe's fists rained down on Clifford like a storm.

Straight punches, left hooks, right hooks—Uwe Boll showcased his prowess, giving the critic no chance to retaliate. As the most formidable boxer among directors, he embodied the vengeful spirit of filmmakers striking back at critics, channeling the essence of Michael Bay, Roland Emmerich, and James Cameron in this moment.

Finally, Uwe Boll delivered a powerful backhand punch, knocking Clifford Rothschild down. Though Clifford managed to get back up, the referee halted the match, seeing that he had been unable to fight back and had merely been shielding his head.

"The winner is..." The referee raised Uwe Boll's hand. "Uwe... Boll!"

Matthew and Leonardo DiCaprio clapped enthusiastically, joined by Bar Refaeli, Elena Boyar, and others nearby.

Unable to contain himself, Rex Reed glanced back at Matthew, who shrugged and said, "There are still three more. It's not over yet."

Hearing this, Rex Reed quickly turned back. He had seen the match and knew that even if the remaining three critics teamed up, they might not stand a chance against Uwe Boll. As a now prominent figure, he couldn't afford to kiss a donkey's butt again.

Matthew shook his head, no longer bothering with the critics in front of him.

Leonardo DiCaprio said, "It looks like Uwe Boll is going to win."

"If an angry German man wants to fight in a boxing match," Matthew smiled, "those without professional training should stay far away."

In fact, Uwe Boll had practiced amateur boxing for about ten years. He was arguably the best boxer among directors and the best director among boxers.

In a verbal spar, ten Uwe Bolls wouldn't be a match for a single critic, but in close combat, the critics stood no chance.

Unsurprisingly, the remaining three critics quickly fell to Uwe Boll as well. None, including Clifford Rothschild, lasted beyond the first round against him.

In Matthew's view, if critics wanted to regain their dignity, they would have to resort to their sharp, sarcastic reviews.

"For critics, Uwe Boll is undoubtedly their favorite target for showcasing their wit," Elena Boyar said to Matthew after the matches ended. "Sometimes, they enjoy mocking him more than they actually dislike him."

Matthew nodded. "That's quite true."

Elena shrugged and added, "But for gamers, Uwe Boll is their nightmare, turning beloved games into dreadful movies. He's even been dubbed the terminator of game movies by many gamers."

Matthew couldn't help but laugh. This farcical match had ended, and Uwe Boll, long oppressed by critics, finally had a chance to vent his anger.

This event would surely cause a stir in the film industry and media. However, this method of retaliation wasn't suitable for all directors—after all, Uwe Boll had ten years of amateur boxing experience.

If someone asked Matthew for advice, he would say: If you want to make bad movies and emulate Uwe Boll, start by learning boxing!

Of course, Uwe Boll wasn't a Hollywood director, and this approach wouldn't suit Hollywood filmmakers.

The relationship between critics and Hollywood wasn't just about conflict. There was a symbiotic relationship, hidden beneath the surface. Unlike some regions where film companies openly use critics as mouthpieces, the exchanges of interests between North American critics and Hollywood were more subtle.

In reality, critics and Hollywood had long formed a symbiotic relationship, especially the negative reviews aimed at Hollywood blockbusters. While they seemed to satirize Hollywood, they often provided the best publicity for the films, boosting the critics' and their media's presence.

A prime example was Michael Bay.

North American critics had enough venomous comments about his films to fill a book. Despite their ongoing tirades, which continue to this day, they couldn't stop his films from being worldwide hits.

As "The Orlando Sentinel" once reviewed "Armageddon": "Is this the worst movie of the summer? Possibly. Will everyone go see it? Most likely."

For North American critics, leveraging Hollywood's power was essential to maintaining their influence, and this leverage wasn't just about direct financial benefits but also more subtle impacts.

For instance, the New York Film Critics Circle often boasted about their awards' predictive value for the Oscars. Since their inception, nearly half of their Best Picture winners went on to win Oscars, but they also tried to prove their superior taste compared to the Oscars.

In essence, Hollywood and critics were interdependent.

Without critics, Hollywood would lose its cheerleaders, and without Hollywood, what would critics review? So, they kept up the appearance of constant conflict without ever truly eliminating each other, the ultimate unwritten rule between Hollywood and critics.

Perhaps the relationship between critics and Hollywood could be best summed up by saying there were no permanent enemies or friends, only permanent interests.

The matches ended quicker than expected, and the paying audience was dissatisfied. Many had come hoping to see Uwe Boll get beaten, leading to boos filling the gym.

Matthew and Leonardo DiCaprio prepared to leave. Before heading out, Matthew suddenly thought of something and asked, "Leo, are you free on the 25th this month?"

Though they had been chatting and standing united, Leonardo sensed it might be a work-related question and just looked at Matthew without replying.

Matthew continued, "On the 25th, I'm officially launching two of my charity foundations. I'm planning a charity dinner and would like to invite you."

Leonardo thought for a moment and said, "I should be free. Send me a formal invitation, and I'll be there unless something comes up."

"Sure thing." Thrilled to have Leonardo on board, Matthew added, "I'll have someone send you an invite tomorrow."

Leonardo followed up, "I'm planning an environmental charity event next month."

Matthew internally sighed but quickly responded, "An environmental charity? I'm very interested in that! Leo, count me in."

Seeing Matthew so eager, Leonardo extended his right hand and said, "Deal!"

"Deal!" Matthew shook his hand firmly.

Although Leonardo treated it as a transaction, Matthew didn't mind. Celebrities often supported each other's causes.

By attending his charity dinner, Leonardo would likely donate a significant sum, which Matthew would eventually have to reciprocate.

Charity, after all, wasn't about extracting money from fellow celebrities engaged in philanthropy like Leonardo.

As they exited the gym, Leonardo left first. Matthew and Elena Boyar waited by the VIP passage for James McAvoy and Michael Fassbender, who had gone to the restroom.

"This Leonardo DiCaprio..." Elena remarked, "He truly is a shrewd one."

Matthew wasn't surprised. "You don't become a top star by being foolish."

Elena gave Matthew a disdainful look. "Are you indirectly praising yourself?"

Matthew shrugged. "Take it however you want."

At that moment, Tom Cruise and his fiancée Katie Holmes approached. Tom noticed Matthew at the same time Matthew saw him.

To Matthew's surprise, Tom headed straight for him, despite them never having interacted before.

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