3.5 stars out of 5
So, there’s this new installment in a long-running movie series, started in the ’70s, good vs. evil, iconic music. But people are especially psyched for this one because it consciously connects back to the “classic era.” Of course, I am referring to Creed, the latest chapter in the Rocky saga.
Creed is especially interesting, because for the first time in the seven films, Sylvester Stallone turns over the writing duties. Ryan Coogler, the writer/director behind Fruitvale Station which I still need to see, grabs the reins here: director, co-writer, and story credit as well. He strips the franchise down to its roots while still managing to lend it a modern feel.
The plot, if you haven’t heard, has Apollo Creed’s now grown, out-of-wedlock son come to Philadelphia to be trained by the Italian Stallion himself, Rocky Balboa. Playing Adonis “Donnie” “Hollywood” Johnson/Creed is the very good Michael B. Jordan. Yes, he was the lead in Fruitvale Station; I fully intend to see this movie. But I know him as Vince Howard from Friday Night Lights. And my buddy Jim just reminded me that Jordan was also the very poignant character of Wallace in the first season of The Wire, way back in 2002. That’s cool, because he’s briefly reunited with Avon Barksdale here.
Coogler brings us back to the gritty Philly of the original Rocky. It feels real: We’re at Johnny Brenda’s and Max’s Steaks (and here I thought Jim’s was my non-Pat’s/Geno’s option) and the Electric Factory. And there are touchstones from earlier in the series, including Mickey’s gym and the Adrian’s eatery. Coogler repeatedly honors that past — turtles, chickens in the yard, mentions of Paulie, etc. — without leaning too hard on it.
Stallone once again eases back into the character he created 40 years ago (possibly inspired the Bayonne Bleeder, Chuck Wepner). And it’s not just the turned-up brim and “yo” speech patterns that transform Stallone into a modern-day Balboa. You get the sense that he’s absorbed a lot of punishment in the ring and in life, and has emerged with a grasp of what’s really important. Sly delivers a very likable performance.
Tessa Thompson does a really nice job as Donnie’s love interest Bianca — independent but supportive. The relationship feels legit. The character is a musician, and as for Thompson’s credibility there, well, she is the daughter of Chocolate Genius!
Also in this movie, alas without too much to do: Phylicia Rashad as Apollo Creed’s widow. Yes!! (Trivia: She is the third actress to play this role.)
A real highlight here are the visceral boxing sequences. We’re right there in the ring and it’s pretty thrilling. That’s kind of important in a boxing movie.
The script and the direction press many familiar emotional buttons — occasionally this feels like a TV movie complete with cheesy background music. And the ending may indeed rely too much on the past. Still, Coogler knows how to elicit a response from the viewer, and the result is a genuinely enjoyable movie. Not a knockout, but a clear winner by decision.
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Did any character shout “Adrian?” I think Adrian dies in Rocky V, but I thought about Talia Shire being in Rocky and then how Jason Schwartzman is her son and how Francis Ford is his uncle and Nicholas Cage is his cousin. I guess your review really wasn’t so much about that. But it’s fun to think about all of them around the Thanksgiving table.
Adrian’s death looms large over this story, and Balboa runs a restaurant named Adrian’s. And indeed, in a sweet scene, he pulls up a chair at the adjoining gravesites of his wife and Paulie, and upon arriving says “Yo Adrian.” Don’t forget the very talented Sofia Coppola and Wes Anderson collaborator Roman Coppola!
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