Certificate: 12A (moderate violence, infrequent strong language). Running Time: 116 mins. UK Distributor: Warner Bros
WHO’S IN IT?
Michael B. Jordan, Tessa Thompson, Jonathan Majors, Wood Harris, Florian Munteanu, Phylicia Rishad, Tony Bellow, Selenis Leyva, Thaddeus J. Mixon, Mila Davis-Kent, Canelo Álvarez, Alex Henderson, Spence Moore II
WHO’S BEHIND THE CAMERA?
Michael B. Jordan (director, producer), Zach Baylin and Keenan Coogler (writers), William Chartoff, Ryan Coogler, Jonathan Glickman, Elizabeth Raposo, Sylvester Stallone, Charles Winkler, David Winkler and Irvin Winkler (producers), Joseph Shirley (composer), Kramer Morgenthau (cinematographer), Jessica Baclesse and Tyler Nelson (editors)
WHAT’S IT ABOUT?
Adonis Creed (Jordan) faces off against his old friend (Majors) who seeks retribution…
WHAT ARE MY THOUGHTS ON CREED III?
The only disappointing thing about Creed III is that nobody in the marketing department thought to re-title it Threed. I mean, honestly: it was right there for the taking, a golden opportunity you only get once in a lifetime, but they completely squandered it by going with the less stupid title instead. I guess we just can’t have nice things in this world.
Aside from that, Creed III (as I guess I’m begrudgingly calling it) is pretty damn good.
The third in the Rocky spin-off series, and the first to be directed by its star Michael B. Jordan (making his directorial debut here as well), is an enthralling, emotional, and deeply passionate entry that will not only please long-time fans of this franchise, but will also win over new converts with its strong array of characters, simple but effective storytelling, and a filmmaking style that immediately sets itself apart from its predecessors.
In the film, we catch up with Adonis Creed (Jordan) as he’s retired from the world of boxing, is living a comfortable life with his family, including his partner Bianca (Tessa Thompson) and their deaf daughter Amara (Mila Davis-Kent), and runs a gym in Los Angeles. His world is shaken, though, by the unexpected return of childhood pal Damian (Jonathan Majors), who’s just been released from a lengthy stint in prison, and is more than keen to resume his path toward becoming the world boxing champion, which Adonis supports out of sympathy for his long-lost friend. However, Damian soon reveals himself to not just be a ferocious fighter, but one with a serious grudge against Creed, and soon enough the two former friends are put on a path that may or may not see them go head-to-head in the ring (though honestly, I’m not sure why I’m being vague about that: it’s a Rocky movie, of course that’s where they eventually end up).
One of the things that both the Rocky and Creed series have done so well is that, when you break them down, they are formulaic to a near-fault, the epitome of sports movie tropes with more cheese than a typical pizza, but they just happen to execute them so well that, after a while, you forget about the conventions and are just enjoying the ride. Creed III is no exception, but this one has a distinct identity all of its own, thanks to Jordan’s stylish and at times even artsy direction that takes heavy inspiration from anime (something that Jordan is said to be a massive fan of, and it shows) and utilises IMAX camera ratios for some stunning fight sequences where you feel every punch and hear every grunt. The fact that this is Jordan’s first stint as a director is impressive in and of itself, but what’s even more notable is how, in the film’s quieter and more character-centric scenes, he also has a keen awareness for showing exactly what certain people are thinking and feeling, without calling attention to it through dialogue. In one fell swoop, Jordan shows that he can direct both action and drama like a seasoned veteran, setting up what could be an illustrious career behind the camera should he decide to continue this venture (though, given how this movie turned out, it’s unlikely this’ll be a one-and-done situation).
In front of the camera, Jordan excels once more as the titular boxer, sharing great chemistry with Tessa Thompson and scene-stealing young actor Mila Davis-Kent, and exhuming a general sense of charisma and intrigue that makes this character so interesting to see develop. He faces stiff competition, though, from Jonathan Majors who – after being the best thing in the otherwise okay Ant-Man and the Wasp: Quantumania – delivers another great villain turn that makes more effective use of the actor’s natural screen presence, in a role that he easily makes more intimidating but also intriguingly consumed by a wide range of emotional tics that leave you unsure whether what he’s saying ever matches with what he’s really thinking. Majors treats the role like it’s something written by Shakespeare (something I noticed about him in Quantumania as well), and for a character who turns out to have such a larger-than-life ego and vendetta it works rather well within the context.
Both Jordan and Majors are electric whenever they’re on-screen together, or even apart as they participate in that most traditional of Rocky/Creed conventions: the training montage. Only here, and I say this as someone who has seen each previous film a minimum of two times, Creed III may just contain one of the best such montages in the entire franchise. In addition to being as visually epic as you’d expect from this series (which, as a reminder, once saw Rocky Balboa climb all the way to the top of a snowy mountain, putting the stairs in Philadelphia to shame), the emotional weight is greatly felt at all times through some very precise editing, heart-pumping soundtrack choices, and the magnetic screen performances which always leave you overwhelmed with how much passion and dedication is being put into their physical and psychological portrayals. It’s a fantastic sequence that’s hard not to be hyped by once it moves into the equally compelling climax, and should at the very least be considered for top-tier training montages within the Rocky continuity.
Speaking of the Italian Stallion, it’s a further testament to this film that Sylvester Stallone’s absence here is rarely ever felt, if at all. Jordan’s Adonis Creed has more than earned his own time in the spotlight with Stallone no longer waiting aside in the wings; in fact, one could argue that Adonis is a more layered and even a more interesting protagonist than Rocky Balboa, because while he was always just more of an underdog with a heart of gold (and don’t get me wrong, he’s so lovable because of that), Adonis Creed has a greater inner conflict, fuelled by a more turbulent past, some of which is heavily explored here. It makes him more intriguing to see develop as a character, whereas with Rocky he more or less stays the same after each movie, which is fine but doesn’t always make for compelling dramatic arcs (ironically, the most significant development he ever truly received was in the first Creed movie).
Any grievances I have about the film are minor – one twist is forecast pretty early on, and some characters aren’t left with much to do – since Creed III is stunning big-screen entertainment that evolves the series into a truly emotional spectacle where you’re just as engaged with the character drama as you are the invigorating fight sequences. But again, though, I just can’t believe the cowardice in not naming it Threed; that’s just something I don’t think I’ll ever get over.
SO, TO SUM UP…
Creed III is another knockout entry in the franchise, with star and first-time director Michael B. Jordan well and truly shining on both sides of the camera, along with the magnetic screen presence of Jonathan Majors as the intimidating new foe, in a film that boasts impressive style, dramatic nuance, and one of the best training montages in the entire series, all without the hardly-felt absence of Sylvester Stallone’s Rocky Balboa.
Creed III will be released in cinemas nationwide on Friday 3rd March 2023 – click here to find a screening near you!
