Creed III: Review

Creed III release date: March 3, 2023.

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 story, for his directing debut. While he reprises the title role of champion boxer Adonis Creed, son of Apollo, he is also directing himself in the process. He also finds new 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 directed 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 friend and collaborator for a very long time. With all of that pressure and anticipation, Jordan has created a movie that respects the series’ history while moving the lore forward. And utterly predictably, he inspires strong performances from his co-stars, especially a scary Jonathan Majors in the role of Adonis’ former childhood pal.

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However, “Creed III” takes some time to get rolling as it uses flashbacks to 2002, Los Angeles, to establish the shared past of the movie’s final rivals. As a young teen, Adonis “Donnie” Creed is seen sneaking out of his room to watch his big brother figure, Damian “Dame” Anderson, dominating in grudge matches. On the way home one night, a physical altercation decides their futures, with Adonis moving on to glory 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 home in the Hollywood Hills after the plot is advanced by 15 years in a perfectly timed, exquisitely placed match cut.

While he skillfully depicts the level of riches that Adonis enjoys with his wife, Bianca (Tessa Thompson), and their deaf daughter, Amara, Jordan’s attention to detail is on the full show (Mila Davis-Kent). Adonis’s new, refined character is immediately apparent thanks to the production designer Jahmin Assa’s basic 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 generation of fighters as a behind-the-scenes power at his own Delphi Boxing Academy. They claim to be happy, but there is an intriguing tension between them because it is obvious that they both still yearn for the attention that formerly defined and fed them.

Singer-songwriter Bianca is writing songs and collaborating with up-and-coming artists as a producer, much like Adonis is forming the next generation of fighters as a behind-the-scenes power at his own Delphi Boxing Academy. They claim to be happy, but there is an intriguing tension between them because it is obvious that they both still yearn for the attention that formerly defined and fed them. Young Davis-Kent, a deaf actor, emerges brightly in her first major role, more than holding her own against veteran performers with her sparkly presence and timing. Thompson adds earthiness and tenderness to this overwhelmingly male film. As Mary-Anne, the mother of Adonis, Phylicia Rashad also makes a triumphant return. Another thoughtful, genuine detail is the family’s regular use of sign language for communication.

But when Dame shows up, who has become much tougher while incarcerated and is now seeking the boxing glory he feels is rightfully his, their trance is interrupted. Given the prominent villainous roles both actors have played in the Marvel Cinematic Universe, there is a certain nerdy joy in viewing the spectacle of Kang vs. Killmonger. Majors is fantastic as usual. He lends a profoundly unnerving energy to the part; Dame is rather combustible below his outward appearance of serenity. Even if he isn’t always visibly enraged, his intimidating physicality nevertheless makes him terrifying since he is constantly monitoring, plotting, and fuming.

Jordan, the filmmaker, uses a seemingly straightforward sequence in which Adonis and Damian share an unpleasant reunion supper to tell a whole, deep story. They achieve this in collaboration with cinematographer Kramer Morgenthau, editors Jessica Baclesse and Tyler Nelson, and other key players. Close-ups, tempo, 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 interaction is potent because of what it doesn’t show—what these characters purposefully withhold from us but which we yet sense.

But “Creed III” also provides the audience with numerous training montages, which is what they want. Even “Rocky” had a montage, they sing in “Team America: Global Police.” The screenplay from Keenan Coogler and Zach Baylin hits all the uplifting beats you’d expect, but tosses in some clever new ones, too, 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 setting that’s so very L.A. So, running is possible in the streets, on the beach, and up hills. Punching and sparring are present. Yet there was also the image of Adonis using his pectorals alone to tow a real airplane. It’s somewhat funny and quite entertaining.

Jordan also employs some stunning creative decisions in terms of sound design, camera movements, and visual effects during the pivotal clash between these two warriors. A section in which everything abruptly shifts offers an unexpected emotional impact and a novel viewpoint.

On the surface, “Creed III” would appear to be about big, strong men 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. Although Dame is rough and raw and fights as if his life is on the line, Adonis is all control and technique in the ring. The motivations behind Dame’s thirst for vengeance and perhaps dominion, however, are reasonable, much like those of Killmonger in “Black PantherKillmonger. “It’s fascinating to watch these titans square off against one another in that morally ambiguous space, 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 captivating when he is on the other side of the camera.