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.

Weekend Watch - Ant-Man and the Wasp: Quantumania

                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 Marvel’s latest film, Ant-Man and the Wasp: Quantumania. The film is the launch of Marvel’s Phase Five, introducing the new big-bad of the universe, Kang, to theatrical audiences after he received a soft-launch in the Loki series back in 2021. The film sees the return of Paul Rudd’s Scott Lang/Ant-Man alongside Evangeline Lilly’s Hope Van Dyne/Wasp, Michael Douglas’s Hank Pym, and Michelle Pfeiffer’s Janet Van Dyne. In addition to Jonathan Majors’s Kang the Conqueror, the film also introduces Kathryn Newton as the new actress for the now-teenage Cassie Lang and features cameos from Bill Murray, William Jackson Harper, and Corey Stoll. Let’s get into it.

Letter Grade: B; there’s no denying that the film has issues, but there’s a lot to enjoy here that makes it better than the current critic consensus.

Should you Watch This Film? If you enjoy the MCU or comic book films, this is a great watch for you. If you don’t like that type of film, there’s not enough here that will change your mind.

Why?

                Marvel’s introduction to Phase Five gives audiences a clear vision for the future of the franchise in the midst of a muddled story in the present, fitting for a film set predominantly in a region that exists outside of time and space. The film is unquestionably high on its new characters (the future of the franchise) with an excellent villain performance from Majors and one of the better “teen” outings in the franchise from Newton. Unfortunately, their performances and the rightly directed focus on Pfeiffer’s Janet can’t save the film entirely from the odd shift in direction for the Ant-Man films and a story shot full of holes.

                In terms of performances, Quantumania benefits from some of the best in recent MCU history with actors fully committed to their characters, even if their writing and story are imperfect. Rudd has truly come into his own as Lang and Ant-Man, making the character in his own image as a recognizably lovable celebrity who also happens to have saved the world a few years ago. He brings the same lightness to this film that we have become used to but also manages to rise to the physicality that this story requires with believable results. Michael Douglas is tasked with the role of comedic side character typically filled by Michael Peña in these films and actually does an admirable job. Is it as iconic or likeable as Peña’s Luis? Absolutely not, but Douglas manages to turn his supergenius into enough of a relief to keep the film moving. In my opinion, “the Wasp” referred to in this film’s title has to be Michelle Pfeiffer’s Janet Van Dyne because she has so much more to do than Evangeline Lilly in this film and carries that burden well. Having played a fairly minimal role in the last Ant-Man film, Pfeiffer comes to the front as the expert on the Quantum Realm and Kang, giving plenty of backstory and explanation even as she struggles to cope with the consequences of her past mistakes. It’s easy to see that she enjoys the role and is fully capable of carrying the yoke of secondary protagonist. Kathryn Newton takes her role as Cassie Lang head-on, again managing to turn the loss of a fan-favorite character into a net neutral (and perhaps even gain in this case) as she serves as the heroes’ moral compass for most of the film, reminding Scott of what heroes are supposed to do at every turn. Finally, Jonathan Majors goes to work as the new Big-Bad of the saga – Kang the Conqueror. He plays the character as this malevolent force, offering to save the multiverse no matter how many people and universes he has to destroy in the process. His writing is perhaps the strongest, and Majors takes advantage, delivering line after line of despotic dialogue with weight and excellence.

                All the strong performances can’t do enough to salvage Quantumania’s overly expository and underwhelming Star Wars-lite story. From the first scene in the Quantum Realm, the inspiration from Disney’s other major franchise becomes clear, complete with desert scavengers, a cantina, and an evil empire fighting against rebels. From there, the story takes too long to get where it wants to go (introducing Kang) in order to get a frankly underwhelming Bill Murray cameo into the start of the second act. Unfortunately, for all of Majors’s greatness as Kang, the film’s third act does him pretty dang dirty – having him lose in fairly embarrassing fashion multiple times. His performance does enough to keep me excited for his future in the MCU, but the contrivance for the heroes to win in this film makes me wary of future underutilization of the villain’s genius, charisma, and physicality. We’ll see.

                Great performances from most of its leads don’t fully salvage Quantumania’s mess of a script, resulting in a mixed bag in Marvel’s first Phase Five film. Its visuals and charismatic leads help keep it enjoyable enough to warrant watching in theaters, and I think it probably would be pretty solid in 3D if you want to pay extra for that. As it stands, it’s not the best that Marvel has ever put out. It’s not the worst, either, and I think that with Bob Iger back at Disney, they’ll be able to return their focus to producing quality over quantity again.