Review – Creed (15) [2016]

Creed - Title banner

Star Rating: 4.5/5

Director:

  • Ryan Coogler – Fruitvale Station

Cast:

  • Sylvester Stallone – Rocky I-VI, Judge Dread, Escape Plan, The Expendables I-IV
  • Michael B. Jordan – Chronicle, Fruitvale Station, That Awkward Moment, Fantastic Four
  • Tessa Thompson – Heroes, Periphery, Selma, Salt Water
  • Phylicia Rashad – Cosby, Just Wright, The Cleveland Show, Gods Behaving Badly
  • Graham McTavish – Secretariat, Colombiana, The Hobbit I, II & III, The Finest Hours
  • Tony Bellew

Music Composer:

  • Ludwig Göransson – Fruitvale Station, Community, We’re The Millers, New Girl

In recent weeks, there has been much controversy about the lack of diversity regarding the OSCAR nominations. Other than Alejandro Iñarritu (who is Mexican), not a single non-white person has been nominated for any of the major awards for the second year running. How was this possible when some fantastic work has been done by non-white people over the course of the last year? Creed is an excellent example of how wrong the OSCARs have got it this year.

Rocky (Sylvester Stallone, right), giving his pupil, Adonis Creed (Michael B. Jordan, left), some advice on how to defeat a foe in the ring.

Rocky (Sylvester Stallone, right), giving his pupil, Adonis Creed (Michael B. Jordan, left), some advice on how to defeat a foe in the ring.

Creed is the seventh film in the Rocky franchise and centres round Adonis Creed (Michael B. Jordan). Adonis is the illegitimate son of Apollo Creed, who died in Rocky IV. After having a good education and holding down a solid job in the financial sector, Adonis wants a career change. He decides to take up professional boxing and follow in his illustrious father’s footsteps.

To reach those heights, Adonis needs a coach. So he turns to his father’s former rival-cum-friend, Rocky (Sylvester Stallone), to train him. Despite being in his late-sixties and having quit boxing, Rocky agrees.

Creed is a very engaging film. It has nostalgic borrowings from previous Rocky films, but more importantly it is a thriller and a drama in its own right. Thus, it does not matter if one has watched the other Rocky films or not. One can greatly enjoy the movie due to the quality of the (often humorous) script, as well as the depth of the characters and the chemistry between them; principally, Rocky (Stallone), Adonis Creed (Jordan) and Bianca (Tessa Thompson).

Adonis Creed out with Bianca (Tessa Thompson).

Adonis Creed out with Bianca (Tessa Thompson).

Stallone plays his joint-most iconic role (with Rambo) with tremendous nuance, charm and realism. He fully justifies his OSCAR nomination. This is not the egotistical Stallone/Rocky in his pomp, trying to take down all his foes to be the all-American hero. (Watch The Expendables franchise for that ludicrous nonsense.) No, time (and life) has taken its toll on Rocky and one feels this in every line he delivers (even when he is being funny). It remains to be seen if this performance is enough to win Stallone the OSCAR for Best Supporting Actor. But having won the Golden Globe for it, he stands a good chance.

Whether he wins it or not, at least Stallone has received OSCAR recognition for his efforts. The same cannot be said for Michael B. Jordan, Tessa Thompson and director Ryan Coogler. Jordan is terrific as the titular Creed and it is scandalous that he has not been nominated. His role is so demanding; yet, he handles it with aplomb, whether it is in the (gruelling) boxing ring, or in his relationships with his mentor or his love interest, Bianca. And in fairness to Bianca/Tessa Thompson, she holds her own against Creed/Jordan. She is not merely in the film for eye-candy or to advance Creed’s plot arc. Rather, Bianca exists in her own right, as a three-dimensional character and with a promising career to match, both of which make her very interesting to watch.

For all this, Ryan Coogler must be credited. He has done a superb job in reinvigorating a tired franchise and his directing is outstanding. He captures the upper- and lower-class areas from where boxers come from with class, and has managed to turn a (bog-standard) boxing training montage into something serious and amusing at the same time. Nevertheless, it is how Coogler has handled the boxing fights that highlight his skill as a director. He adopts close-up, continuous shots with no cuts, enabling viewers to feel as if they are part of the fights. That the fights are raw and brutal amplify this sensation.

Adonis Creed in the ring, still standing, despite having taken a battering from his opponent.

Adonis Creed in the ring, still standing, despite having taken a battering from his opponent.

If Coogler can be criticised at all for Creed, it is that the film has some predictable and cliché scenes. Some of these scenes, the movie would have been (marginally) better off without because they are a mixture of rehashing of old Rocky territory and because other boxing films (such as The Fighter, Warrior and Southpaw to name three) have covered similar ground. Then again, if these are the only problems with Creed, they should be mostly overlooked.

All-in-all, Creed is a fantastic boxing thriller and drama. It has a great and funny script, some brutal boxing fights, and some OSCAR-worthy performances. Stallone is a joy to watch in this older, more-nuanced version of his familiar character. He is deserving of his OSCAR-nomination and it would not be a shock if he were to win the OSCAR next month. No, the real shock is that Stallone is the only person nominated from this film. For their parts, Michael B. Jordan, Tessa Thompson and Ryan Coogler should also have been nominated, if not at the head of the queue to win OSCARs themselves. One can only hope that it was not because of the colour of their skins that they did not make the shortlist.

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