Actor Ashton James says preparing for his starring role in the modern remake of the 1986 hockey drama Youngblood was far more demanding than he ever expected.

While watching the IIHF World Junior Championship in 2020, James found himself feeling overwhelmed rather than inspired. At the time, he had just started training for the role of Dean Youngblood, a talented hockey player at the center of a new Black-led Canadian version of the cult classic. Every highlight from the tournament only reminded him how far he had to go to realistically portray an elite athlete.

James recalled feeling discouraged as he compared himself to the teenage hockey stars dominating the ice. When he shared those doubts with filmmaker Charles Officer, the director gave him blunt advice: approach the role like a professional athlete.

Officer, a former hockey player himself, urged James to commit fully to the physical and mental demands of the sport. The actor began intense training that was originally supposed to last just three months. However, after Officer fell ill and later died in 2023, production was delayed, stretching the preparation period to more than three years.

During that time, James continued to train extensively, skating and conditioning at Intek High Performance in Toronto alongside elite prospects. He also spoke with young Black hockey players about their experiences in a sport that has historically been dominated by white athletes.

The actor says even adapting to hockey’s locker-room culture required effort. The language and camaraderie used among players initially felt unfamiliar to him, and he worked to find a way to authentically embody the environment without feeling uncomfortable about it.

The new version of Youngblood, which premieres Friday, aims to update hockey storytelling by exploring themes of masculinity, race and identity within the sport. The original film starred Rob Lowe as Dean Youngblood, a talented but undersized player who learns to fight to succeed in professional hockey.

In the remake, James portrays a Black forward whose biggest challenge is not learning to fight, but learning restraint.

Following Officer’s death, director Hubert Davis stepped in to complete the project. Davis said Officer’s vision remained deeply embedded in the script from the beginning. The story was designed to question traditional ideas about toughness and masculinity in hockey culture.

The film also stars Blair Underwood as Youngblood’s demanding father, a man who raised his son with a strict belief in grit and aggression.

Underwood says the film challenges assumptions about who participates in hockey, noting that many audiences are still surprised to see Black athletes associated with the sport.

While the character’s race is not the central focus of the story, the film includes a moment where Dean reflects on being treated differently throughout his hockey career. The scene acknowledges the experiences of many Black players in the sport.

To better understand those realities, James spoke with Black Canadian hockey prospects including Zayde Wisdom and Kyle Bollers during his preparation.

The film also draws parallels with real-life hockey culture, including the criticism faced by former National Hockey League star P.K. Subban, who was often scrutinized for his celebratory goal celebrations.

Director Davis says the film examines how a sport built around tradition and uniformity responds to individuality and emotional expression.

Beyond issues of race, the movie also reflects on how ideas of masculinity in hockey have evolved. Older sports films often emphasized physical dominance and fighting as proof of strength. But the modern game has shifted, with fighting in the NHL dropping to historic lows as the league places greater emphasis on player safety.

Even so, Davis believes the tension remains: the physical nature of hockey is still central to its identity and appeal.

The remake of Youngblood ultimately seeks to explore that balance while honoring the vision of Officer, whose original goal was to challenge hockey’s long-standing cultural norms.