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Even just the desire is impressive.
Michael B. Jordan decided to take on “Creed III,” the most recent entry in the “Rocky” spinoff series and the ninth overall film in the adored boxing epic, for his directing debut. As he reprises the title character of champion boxer Adonis Creed, son of Apollo, he is also directing himself in the process. He also finds fresh swagger and emotional depth in his roles as the movie’s star and director, as well as genuine confidence and style. He is electrifying on both sides of the camera.
Jordan is imitating Sylvester Stallone by doing this, who helmed four “Rocky” films himself, including the touching “Rocky Balboa” from 2006. But he also needs to keep up with Ryan Coogler, the director of the first “Creed,” who has been a close buddy and collaborator for a very long time. With all of that strain and anticipation, Jordan has created a movie that respects the series’ history while moving the lore forward. And completely predictably, he inspires strong performances from his co-stars, including a fearsome Jonathan Majors in the role of Adonis’ former childhood friend.
However, “Creed III” takes some time to get going as it uses flashbacks to 2002 Los Angeles to establish the shared past of the movie’s ultimate rivals. As a young teen, Adonis “Donnie” Creed is seen sneaking out of his room to observe his big brother figure, Damian “Dame” Anderson, dominate in grudge matches. On the way home one night, a physical altercation decides their futures, with Adonis moving on to greatness and Damian ending up serving an 18-year prison sentence. Another jump to the present day reveals that Adonis has retired from the ring and is leading a lavish lifestyle in a contemporary mansion in the Hollywood Hills after the story is advanced by 15 years in a perfectly timed, exquisitely placed match cut.
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As he skillfully depicts the level of wealth that Adonis enjoys with his wife, Bianca (Tessa Thompson), and their deaf daughter, Amara, Jordan’s attention to detail is on full show. (Mila Davis-Kent). Adonis’s new, refined character is immediately apparent thanks to the production designer Jahmin Assa’s minimal elegance and the costume designer Lizz Wolf’s creamy neutrals.
Singer-songwriter Bianca is writing songs and collaborating with up-and-coming artists as a producer, much like Adonis is forming the next crop of fighters as a behind-the-scenes force at his own Delphi Boxing Academy. They claim to be happy, but there is a fascinating tension between them because it is obvious that they both still yearn for the attention that once defined and fed them. Young Davis-Kent, a deaf actress, shines brightly in her first major role, more than holding her own against experienced performers with her sparkly presence and timing. Thompson adds an earthiness and sensitivity to this overwhelmingly masculine film. As Mary-Anne, the mother of Adonis, Phylicia Rashad also makes a triumphant comeback. Another thoughtful, genuine detail is the family’s frequent use of sign language for communication.
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But when Dame shows up, who has become much tougher while incarcerated and is now seeking the boxing fame he feels is rightfully his, their trance is interrupted. Given the prominent villainous roles both actors have played within the Marvel Cinematic Universe, there is a certain geeky glee in watching the spectacle of Kang vs. Killmonger. Majors is fantastic as usual. He adds a profoundly unsettling energy to the part; Dame is actually quite volatile underneath his outward appearance of serenity. Even though he isn’t always visibly enraged, his intimidating physicality still makes him terrifying because he is constantly observing, plotting, and seething.
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Jordan, the director, uses an apparently straightforward scene in which Adonis and Damian share an awkward reunion dinner to tell a complete, rich story. They do this in collaboration with cinematographer Kramer Morgenthau, editors Jessica Baclesse and Tyler Nelson, and other key players. Close-ups, timing, and the choice to linger on an actor’s face for one or two extra beats than necessary all add so much meaning and subtext to a scene. The exchange is potent because of what it doesn’t show—what these characters strategically withhold from us but which we nonetheless feel.
But “Creed III” also provides the audience with numerous training montages, which is what they want. Even “Rocky” had a montage, they croon in “Team America: World Police.” The screenplay from Keenan Coogler (Ryan’s brother) and Zach Baylin (“King Richard”) hits all the uplifting beats you’d expect but tosses in some clever new ones as well once it becomes clear that Donnie must get back in shape to compete against Dame for the championship—at Dodger Stadium, of all places, a truly inspired location that’s so extremely L.A. Thus, running is possible in the streets, on the seashore, and up hills. Punching and grappling are present. But there was also the image of Adonis using his pectorals alone to draw a real airplane. It’s somewhat funny and incredibly engaging.
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Jordan also employs some stunning stylistic decisions in terms of sound design, camera movements, and visual effects during the pivotal battle between these two warriors. A segment in which everything abruptly changes offers an unexpected emotional resonance and a novel viewpoint.
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On the surface, “Creed III” might appear to be about big, strong guys beating the hell out of each other. It also belongs to a genre where it’s frequently simple to tell what’s right and wrong, good and bad. While Dame is rough and raw and fights as if his life is on the line, Adonis is all control and precision in the arena. The motivations behind Dame’s desire for vengeance and even dominance, however, are understandable, much like those of Killmonger in “Black Panther”‘s Killmonger. It’s fascinating to watch these titans square off against one another in that morally ambiguous region, exposing themselves in the process.
Jordan has long established himself as a charismatic, adaptable, and humane performer; with “Creed III,” he demonstrates that he is equally compelling when he is on the other side of the camera.
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