Creed III.

Review #1997: Creed III.

Cast: 

Michael B. Jordan (Adonis "Donnie" Creed), Tessa Thompson (Bianca Taylor-Creed), Jonathan Majors (Damian "Diamond Dame" Anderson), Wood Harris (Tony "Little Duke" Evers), Mila Davis-Kent (Amara Creed), Florian Munteanu (Viktor Drago), Phylicia Rashad (Mary Anne Creed), José Benavidez Jr (Felix Chavez), Selenis Leyva (Laura Chavez), and Anthony Bellew ("Pretty" Ricky Conlan) Directed by Michael B. Jordan.

Review: 

"Creed is the first character I'm coming back to play three times. I've been daydreaming about the opportunity and had a clear vision of where I want this character to go moving forward. I'm looking forward to sharing the story with everybody."

You know, I was quite curious to see another one of these films, because they have managed to cultivate riveting entertainment that maintains interesting drama within its perspective in boxing (for the most part) ever since the original Rocky in 1976 (as inspired originally by the fight between Chuck Wepner and Muhammad Ali) and the spinoff in Creed that was done in 2015 (and its sequel in 2018). I cannot imagine which is the biggest surprise, the fact that Rocky became a franchise that exceeded its underdog foundations or the fact that there are now as half as many Creed movies as there are Rocky movies without a lingering sense of repetition being apparent. Now, once again, the respective star of the boxing series have gone on to direct a film themselves. Jordan, who has acted in television and film since 1999, is in his directorial debut with this film, one that he has stated took influence in certain shots from anime. The screenplay was done by Keenan Coogler and Zach Baylin, while the story was done by Ryan & Keenan Coogler, and Baylin.

This is the first of these films to not feature Sylvester Stallone, but one never finds themselves dwelling on that fact for too long. Sure, the level of predictability for a boxing film is about where you would expect, but the film manages to maintain the consistency that has defined these Creed features that have seen riveting sequences of boxing to go with solid performances that are carried most significantly by Jordan. It does this while being the shortest of the series at 116 minutes, which is basically enough time to carry an enjoyable experience within family drama and the drama of old friends who basically are talking their feelings out by fighting (at one point, their match is shown with an empty crowd, which also serves as a way to counter the usual montage to pass the time of a fight). Jordan has managed to accomplish the feat of making this character quite compelling within the meshes of what you could call a (semi)mid-life crisis in trading a boxing suit for an actual suit (he is compared to Don King at one point, although at least one won't find similarities in "manslaughter" or "alleged fraud"). only to find the past coming back to reflect upon him. He pulls off a tremendous performance that showcases a towering level of confidence needed to keep the focus firmly where it belongs in fresh drama that highlights the progression of where this character has gone in these films and what road are still important to touch upon. Him and Thompson are each trying to convey the dilemma that comes with finding new outlets to channel their energy into (as one expects with anybody growing in age), and they make for useful chemistry in making this pursuit matter more than just a diversion. This goes double for the conversations spent between them and their on-screen daughter in Davis-Kent (as told through sign-language that is subtitled). The supporting cast do just fine, with Rashad providing warmth as one would expect, while the others handle the usual expectations to go alongside moments spent in flashback, which is conveyed with suitable execution that doesn't seem tacked on.

Of course, you need a quality boxing adversary. Majors steps up to that challenge with relative ease, one who turns the pursuit of victory with nothing to lose that makes for the chaotic underdog trying to make a second-act comeback. The troubled core that comes through with him and his pursuits make for a suitable presence to counter Jordan, ones who are intertwined in more ways than one when it comes to stubborn determination. People who are into sports films that take the time to show folks at their craft in the art of training montages will naturally be right at home here, which at one point sees training done by towing a plane. Admittedly, you could draw a thin comparison between previous films in the Rocky series, mostly with the third and fifth film, since each film sees the lead actor try to cope with the idea of stepping away from the ring...only to fight again anyway (hey, if it worked for 45-year-old George Foreman...). The final fight proves electrifying as one expects, establishing that one really can't make boxing boring if they actually show perspective to go alongside choreography and a convincing execution (the other fight shown is also quality stuff in its own direction). The fact that seven out of nine of these combined films are pretty good with at least two quality standouts is a testament to the power of fair writing to accompany entertainment value that make for fun sports films, and I can't wait to see what could happen next.

Overall, I give it 8 out of 10 stars.

Once Upon a Time...When We Were Colored.

Review #1644: Once Upon a Time...When We Were Colored.

Cast: 
Al Freeman Jr (Poppa), Phylicia Rashad (Ma Ponk), Leon (Uncle Melvin), Paula Kelly (Ma Pearl), Charles Earl Taylor Jr. (Cliff, age 5), Salli Richardson (Miss Alice), Anna Maria Horsford (Miss Annie), Bernie Casey (Mr. Walter), Isaac Hayes (Preacher Hurn), Willie Norwood Jr (Cliff, age 12), Karen Malina White (Mary), Damon Hines (Cliff, age 16), Taj Mahal (Mr. Will), Iona Morris (Nila Fontaine), Phill Lewis (Sammy / Narrator), Polly Bergen (Miss Maybry), and Richard Roundtree (Cleve) Produced and Directed by Tim Reid.

Review: 
People can make their name anywhere in the industry of entertainment, and they can certainly try to branch out to other fields when it means getting a story told to wider audiences. Virginia native Tim Reid had set up for wanting to get into show business despite having studied business and marketing at Norfolk State University. In 1968, he started working at DuPont in marketing, but it was also the year that he met a salesman in Tom Dreesen. At the same time, Reid worked the marketing job while also developing a comedy act with Dreesen, and the comedy act (named Tim & Tom) was the first biracial comedy duo. The duo struggled for five years on the nightclub act before breaking up, but Reid would eventually find a chance with television, with his first regular role coming in 1978 with WKRP in Cincinnati. Roles in shows such as Simon & Simon and Sister, Sister followed alongside developing his own production company and writing/directing for television. This was the first film that Reid would direct, and it was an adaptation of Clifton L. Taulbert's 1989 novel of the same name, which was his memoirs about his experiences growing up in the Mississippi Delta as a youth in the 1950s (Taulbert is known for his consultant work, and he would also cite his experiences for a book involving lessons learned from the "porch wisdom" of his community). This is to date the only mainstream film that Reid has directed, as his next two efforts with Asunder (1999) and For Real (2003) were mostly constrained to festival and video showings (as compared to this film, which had funding from Black Entertainment Television (BET).

What we have is a film for the small-town folks at heart in a time where kinship and community had to deal with prejudice and intolerance as a youth grows up to be shaped by what he sees and hears before having to make a choice for himself on what to do with that in mind. There is plenty to look at when it comes to its attempts at a period drama that involve dozens of speaking parts and episodic movement that goes with a warm attempt at reaching audience that certainly has a big heart to its craftsmanship. Whether that ends up working enough to justify its 115 minute run-time is up to the viewer, particularly if they are curious for a film that is looking for calm within tension in a small town that might seem right for a project on television or presented to an audience for educational purposes (when comparing it to fellow rural period piece in The Color Purple, this is more tame). For a first-time director, it is an okay effort, one that shows promise for what it shows in the margins in terms of warmth within a troubling time, but it seems a bit too loose near its end to make its lasting point (at least in narration) sing its high notes with clarity. In short, where one thinks the tense moments will arise for its climax seems to only seep in like a half-grown flower rather than one in full bloom, one with a few punches to land when it comes to clean-cut memory weaving. Admittedly, it is the story revolving around the townsfolk that may prove the more endearing more so than the trio of actors playing the youthful focus. Freeman, an actor near the end of a four decade career with focus on television (such as One Life to Live), reins interest in terms of dignified timing, one that is interesting to view with the young folks around him with something useful to say or to view, which is made clear in one sequence involving him teaching his youthful relative about adapting to the times in reading certain prejudicial signs (like how to spell colored) or a tense parade involving the Klan. Rashad (making her film debut after first breaking into acting through the stage) does just as well, warm but aware of the surroundings that makes one seem right at home with its sprinkle of coming-of-age trimmings. The three actors for Cliff do okay, mostly because one will eventually settle into its groove involving family life even with adversity (that, or find something that doesn't seem as much like a Hallmark greeting card) and a decent enough kid to grow into it. Honestly, it's the folks around him that would probably be more interesting to follow, such as a sometimes-used Casey or Hayes, or more specifically with the confident Roundtree. By the time it ends, you'll find yourself with a little bit of a smile, even if you would have hoped for something a bit more in its actual movements, where its episodic nature can only go so far for a film with a mix of seasoned cast and fresh faces to go with a director looking to tell a story to a bigger audience in his first effort. For better or worse, it's an okay time, light and charming in its small-town features to showcase its vision of the old days without being suffocated by itself.

Next Time: George Tillman Jr enters the stage with his biopic of the first African American master diver in the United States Navy with Men of Honor. 

Overall, I give it 7 out of 10 stars.

Creed II.

Review #1165: Creed II.

Cast: 
Michael B. Jordan (Adonis Creed), Sylvester Stallone (Rocky Balboa), Tessa Thompson (Bianca Taylor), Dolph Lundgren (Ivan Drago), Florian Munteanu (Viktor Drago), Phylicia Rashad (Mary Anne Creed), Andre Ward (Danny "Stuntman" Wheeler), Wood Harris (Tony "Little Duke" Evers), Brigitte Nielsen (Ludmila Drago), Milo Ventimiglia (Robert Balboa), and Russell Hornsby (Buddy Marcelle) Directed by Steven Caple Jr.

Review: 
Creed (2015) certainly was a big surprise for numerous reasons. I certainly didn't expect another installment of the Rocky series, particularly a spin-off with Jordan in the lead role and Ryan Coogler writing and directing. The result was a film that ranks up there as one of the better Rocky films, being just as good (if not better than) as Rocky II (1979). With the resulting success that came from the film, obviously a follow-up would be expected, with a good chunk of the cast from the previous film returning alongside a few new and a few familiar faces, although Coogler now only serves as an executive producer. The writing credits certainly are different this time around, with Stallone co-writing the screenplay alongside Juel Taylor while the story was done by Sascha Penn and Cheo Hodari Coker. It certainly feels that Stallone wanted in some way to make a better sequel than the ones that had followed up the original, particularly III through V, and there are quite a few beats that seem a bit familiar. However, the best that can be said for this movie is that it is quite entertaining, with Jordan and Stallone headlining a fairly game cast that make the experience worth it. Jordan does a fine job in keeping things fresh and interesting that one would expect from a lead, handling himself in the boxing sequences fairly well. Stallone, in his eighth reprisal of the character, manages to retain the same kind of charm and quality as expected from him for the scenes he is in. Thompson also delivers a fine performance, with her and Jordan having good chemistry once again. Lundgren is fun to watch, being more of a character to watch this time around with a bit of grizzled depth - he's actually more interesting to be around with than his on-screen son (Munteanu, who does fine with the boxing sequences at least). The rest of the cast all do their parts just fine. The film is privy to a handful of cliches for the sports film (much like any of the previous Rocky films, although not as silly), being a bit predictable at times, although the boxing scenes are up to code once again, leaving a good punch. The run-time of 130 minutes is manageable, and on the whole I'm sure that this film will serve its purpose of entertainment just alright, working as a mostly solid follow-up to the first film while leaving room for the desire to want to see another one of these down the road.

Overall, I give it 8 out of 10 stars.

Creed.

Review #760: Creed.

Cast
Michael B. Jordan (Adonis Johnson Creed), Sylvester Stallone (Rocky Balboa), Tessa Thompson (Bianca), Phylicia Rashad (Mary Anne Creed), Tony Bellew (Ricky Conlan), Graham McTavish (Tommy Holiday), and Wood Harris (Tony "Little Duke" Evers) Directed by Ryan Coogler.

Review
Almost 40 years after the original Rocky, here we are with a spin off (or sorts), with Rocky still playing a role even outside the ring. To be honest, I had no clue on how it would be mainly because I had no clue the movie was going to be made in the first place. The four Rockys I had seen all had varying degrees of entertainment (the first being the best), and I was at least interested in seeing how Jordan and Stallone would do. As it turned out, they both did great. It rises from potentially being mired in cliches to deliver a movie that is flat out entertaining. Jordan and Stallone are excellent together, having a good rapport with Stallone (the only person from any of the past six films) passing the torch onto Jordan. Rashad, though she doesn't have a lot of screen time, is also good to watch on screen. Bellew doesn't get much personality to work with the role he plays, but he does manage to make for an interesting character for Creed to fight in the end, and he certainly looks the part. Jordan and Thompson also share some good scenes with each other that certainly make the movie a little more than just boxing, though admittedly the boxing is excellent nonetheless. It looks really well-done, even including some blood (you can't have a Rocky movie without a little blood). It's a movie all about identity, and by the end it certainly seems to have found a lasting identity and the seeds to build a legacy. I'd love to see more movies about Creed, or even just movies with Jordan in general. This is an engaging movie that manages to evoke fun and the Rocky spirit to make for a excellent movie.

Overall, I give it 9 out of 10 stars.