The time for to binge catch up with the deluge of awards contenders is upon us. I’ve yet to embark upon this unwieldy endeavor myself, what with other preoccupations detracting enough from my viewing habits to pose a potential problem. I’ll be hunkering down in the year’s remaining weeks, if only to produce my annual year-end list in a timely enough fashion. Here’s to the fruitful twilight of a year that’s passed by quicker than I hoped it would, if only due to a lack of desirable warmth in a region where seasonal depression tends to reek havoc on yours truly.
On paper, Creed seemed like another wave-riding dose of nostalgia meant to reboot the nearly forty-year-old Rocky franchise. It merely places the lovable underdog in the role of mentor to his rival-turned-friend Apollo’s son Adonis (Michael B. Jordan), the latter of whom is unaware of his biological link to this legacy. As he consciously pushes toward establishing himself as a credible fighter without the help of his surname, the touching codependency between Adonis and Rocky yields something more substantial than athletic superstardom alone.
As with Fruitvale Station, Coogler forgoes narrative contrivances in favor of human authenticity and corresponding themes. Creed uses its accessibility to its utmost advantage to epitomize its importance as a truly affecting piece of cinema, from Adonis’ troubled humble beginnings to his tackling his aspirations head-on. The familiarity of his desire to pave his own way notwithstanding, Jordan and Stallone’s chemistry pair wonderfully with the film’s organically evolving, moreover entirely involving trajectory along Adonis’ climb to the top.
You either will or won’t fall victim to the film’s more rudimentary charms as an entirely emotional experience, but Creed‘s merits extend beyond its wonderfully realized characters to a staggering uniqueness of presentation. The oft-discussed single-take fight sequence comes to mind, of which is brilliantly staged on account of this conceit and the physical commitment put forth by Jordan’s Adonis and his opponents. Rarely has boxing looked this good onscreen, not to mention how Coogler’s touch bolsters a climactic sequence characteristic of this sporting niche, elevating the bout above predecessors’ frequently rote finales.
Creed is above all an emotionally resonant revival of the canon Stallone attempted to close out with 2006’s agreeably entertaining Rocky Balboa. It coasts amiably along thanks to the superb chemistry on display that’s often the crutch on which a uncomplicated narrative rests. Adonis and Rocky’s joint journey upward, although nostalgic on account of the latter’s association, doesn’t lean too heavily on nods to the franchise’s past to instead establish a singularly functional branch of Stallone’s brainchild.