Creed III
The ambition alone is impressive.
For his first film as a director, Michael B. Jordan chose “Creed III”, which is the latest spinoff in the “Rocky” franchise and ninth overall in the storied boxing saga. He’s also directing himself again, reprising the role of champion fighter Adonis Creed Apollo’s son that he played so electrifyingly in previous iterations. And he comes alive on both sides of the camera here, discovering new swagger and emotional depth as a star while evincing real confidence and style behind it.
In this sense, Jordan is following Sylvester Stallone’s path; Sly directed himself four times as Rocky Balboa (including 2006’s lovely “Rocky Balboa”). But he’s also following the work of his longtime friend and collaborator Ryan Coogler, who made the first “Creed.” Jordan has taken all that pressure and expectation and turned it into a movie that not only honors the series’ past but moves its mythology forward. And of course, he gets powerhouse performances from his cast including an intense Jonathan Majors as Adonis’ childhood friend-turned adversary.
But it takes a little while for “Creed III” to get going as it flashes back to 2002 Los Angeles to establish the shared history between its eventual combatants. We see Adonis “Donnie” Creed sneaking out of his bedroom as a young teenager to watch his big brother figure Damian “Dame” Anderson dominate in underground fights; a violent encounter on their way home one night seals both their fates, with Donnie going onto greatness and Dame toward an 18 year prison sentence. A precisely timed, artfully placed match cut jumps us ahead 15 years to show that Donnie now has the boxing career Dame always wanted; another leap brings us to present day where we find that Adonis has retired from fighting and is living it up in a sleek modern mansion in the Hollywood Hills.
Jordan has an eye for detail here, as he efficiently conveys the kind of wealth Adonis enjoys with his wife, Bianca (Tessa Thompson), and their deaf daughter, Amara (Mila Davis-Kent). The minimalist elegance and creamy neutrals courtesy of production designer Jahmin Assa and costume designer Lizz Wolf instantly communicate the tasteful, zen-like existence Adonis is now striving to project to the world.
Just as Adonis is shaping fighters of the next generation as a behind the scenes presence at his own Delphi Boxing Academy, singer-songwriter Bianca is writing songs and working with new talent as a producer. They tell themselves they’re happy, but there’s an interesting tension in play because it’s clear both still crave the spotlight that once defined them, fed them. Thompson brings an earthy warmth to this testosterone-heavy film; young Davis-Kent who is herself a deaf actress positively vibrates with energy in her first major role, more than holding her own opposite seasoned performers with her spunky presence and timing. Phylicia Rashad also returns with a vital gracefulness as Adonis’ mother Mary Anne, the use of sign language within this family as a means of communication feels significant and real.
But their daydream is broken by the arrival of Dame, who has hardened himself in every possible way while in jail and now hungers for the boxing glory he feels he deserves. There’s a geeky thrill to Kang vs. Killmonger, seeing as both performers have been such prominent villains in the Marvel Cinematic Universe. Majors is great, per usual. He brings an incredibly eerie energy to this part there’s something explosive about Dame beneath his calm exterior. What makes him scary is that he isn’t mad all the time: He’s watching, planning, stewing with fury, but his size and strength mean he can act on it when necessary.
Working with cinematographer Kramer Morgenthau and editors Jessica Baclesse and Tyler Nelson, Jordan the director takes a seemingly straightforward scene in which Adonis and Damian share an awkward reunion dinner and tells an entire story with it. The close ups, the pacing, the decision to hold on an actor’s face for a beat or two longer than anticipated they all speak volumes about what these people are thinking and feeling but not saying out loud. The exchange is powerful for what it doesn’t show what these characters don’t tell us, what they keep strategically withholding but we can sense anyway.
But “Creed III” also gives the people what they want, which is: multiple training montages. As they sang in “Team America: World Police,” “Even ‘Rocky’ had a montage.” Once it becomes clear that Donnie must get back into fighting shape to take on Dame for the championship at Dodger Stadium of all places (truly inspired; so L.A.), where else could we be headed? It was written by Keenan Coogler (Ryan’s brother) and Zach Baylin (“King Richard”), but yes: There will be running through streets on beaches up hills punching things sparring training alongside other L.A. boxers like the Charlo twins and also, there is a shot of Adonis pulling an actual airplane with his pecs. It’s kind of hilarious but still intensely entertaining.
And when it comes time for the climactic showdown between these two warriors, Jordan makes some bold stylistic choices in terms of sound design, camera moves and visual effects. There’s a section where everything suddenly changes which provides an unexpected emotional resonance and fresh perspective.
On its surface, “Creed III” might look like a movie about giant, muscular guys pummeling each other into oblivion. And it exists within a genre that often allows us to determine easily who’s right or wrong, good or bad, black or white. In the ring, Adonis is all precision and control; Dame fights as if he were brawling for his life. But similar to Killmonger’s motivations in “Black Panther,” Dame’s drive for revenge for dominance, even is understandable. To watch these titans grapple with each other in that morally gray area to see them make themselves vulnerable in the process is nothing short of exhilarating.
Jordan has long since proven himself as an actor of tremendous charisma, versatility and humanity, with “Creed III,” he demonstrates that he can be just as compelling on the other side of the camera lens.
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