Weekend Watch - Creed III
Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers is Creed III, the latest film in the follow-up series to the Rocky films, again starring Michael B. Jordan, Tessa Thompson, Wood Harris, and Phylicia Rashad, this time joined by Jonathan Majors, Mila Davis-Kent, and Jose Benavidez. The film follows Adonis Creed as he grapples with retirement, family life, mistakes from his childhood, and the return of an old friend who is hungry for the opportunity he believes he was denied after spending eighteen years in prison. Let’s get into it.
Letter Grade: A, the film has its flaws, but they are small and easily forgiven thanks to a strong story, moving characters, and excellent fights.
Should you Watch This Film? Yes! It looks great, feels great, and is fairly easy to digest even for someone with limited knowledge of the rest of the RCU (Rocky Cinematic Universe).
Why?
Creed III benefits from a combination of successful endeavors, with great performances from its two leads, an engaging story both in and out of the ring, a banging soundtrack, and visuals that might outshine all previous films in its franchise, highlighting the truly visceral nature of the fights it focuses on. Michael B. Jordan wears two hats for this film, playing the lead and directing (his first film ever) and he carries both burdens admirably, doing far more in both roles than I ever would have given him credit for. The script from Keenan Coogler and Zach Baylin (Oscar nominee for his King Richard screenplay) and the story from Ryan Coogler give the rookie director plenty to work with, and he also benefits from getting to act across from one of the biggest new talents in the game, Jonathan Majors.
The film’s story picks up at the “end” of Adonis Creed’s career with his very last fight – a bout against “Pretty” Ricky Conlan to solidify Creed as the universal champ on his way out. It then moves to his retirement as the audience gets to watch his interactions with his wife Bianca (Thompson) and their daughter Amara (Davis-Kent) who was born deaf in the previous film. The Creed family dynamic serves as the heart of the film, as Donny struggles to open up to his wife about some of the more troubling aspects of his past and as together they try to help their daughter communicate her emotions and unify that with her desire to fight like her father. The reintroduction of Majors’s “Diamond” Dame Anderson to Creed’s life comes after an eighteen year absence and gives the film its meat and spine – Dame returns from his time in prison hungry and hurting after losing his opportunity to achieve his dream and watching his friend live it instead. The exploration of both men’s pasts and their difficulty voicing and communicating emotion through anything but fighting serves as the start to a deeper conversation on masculinity and emotions that culminates in the film’s concluding act, which I’m not going to spoil here if I can help it.
The film’s performances carry its story. Tessa Thompson isn’t given a lot to do besides be a record producer and supportive wife, but she does it well with true commitment to the character. Phylicia Rashad gives an admirable, and even emotional, return to her character Mary-Anne Creed, Adonis’s adopted mother and the widow of Apollo Creed, serving as the inspiration for some of the film’s most deeply personal moments. Majors brings plenty of gravitas, swagger, and grit to the character of Dame to hold his own as the film’s antagonist – feeling in many ways like the parallel life of Adonis. The pain of his life and the passion of his future come through in chilling fashion as the character returns to boxing with a fire that threatens so much of what Adonis has built. He’s the most well-established and well-performed villain of probably any film in the entire franchise – Rocky and Creed. This might actually be the best performance I’ve seen from Michael B. Jordan. With plenty of solid co-stars to work with and the opportunity to showcase more than just his anger in his big moments, he shows off a more vulnerable side of the character and of his own persona. The role he plays feels incredibly well-thought-out and authentic to the experience he’s trying to capture. He is given more to do here, and he does more than just clench his teeth and yell about how he’s been waiting his whole life for this, and I was legitimately impressed with his performance.
Jordan also dazzles in the director’s chair, putting together quite possibly the most entertaining trio of fights in any of the films. Each fight showcases something different for the audience, and each also brings in a new element of filming that makes it feel, as Jordan was quoted to have said, in the “spirit” of an anime showdown. The Conlan fight utilizes slow-motion to emphasize Creed’s physicality and the ways that he understands his opponents, sizing them up in bullet time, so to speak. The Dame-Chavez fight utilizes the hyper-detail of zoom and hi-def cameras to showcase Dame’s less-than-legal style of fighting and the pain he seeks to inflict on his opponents, also highlighting his ability to break down opponents and setting him up as a legitimate contender. The final fight between Adonis and Dame might be the best fight in the entire saga, visually and emotionally engaging from start to finish. I won’t spoil what makes it so good but suffice it to say that this is a beautiful fight.
A gorgeous trio of fights, great leading performances, and a solid story about family and masculinity help Creed III outshine any minor detractions it might have and give Michael B. Jordan an excellent first entry in his directing repertoire. It's fun, engaging, emotional, well-paced, and a legitimate great time from start to finish. Check this one out in theaters while you can, and if you can’t, be sure to hit it up when it gets to streaming. I’d be surprised if this film didn’t manage to make my personal top 10 films of 2023 by the end of it all.
