Brings Rocky off the benches in a beautiful new way

Rating: 9/10 (28 December 2015)

I find it fascinating that despite growing up with Star Wars all my life and Rocky for the first time a few weeks ago, Creed filled me with far more nostalgia than The Force Awakens did. Despite the fact that both are clear rehashes of their original winning formula, there is something bold and yet elusive about Creed that makes it just a bit more of a cinematic experience.
Having not seen Coogler and Jordan's acclaimed Fruitvale Station, this was my first exposure to Coogler's directing talent. What a truly champion director this guy is. He can toy with your emotions, keying your to a fever pitch with perfectly gauged levels of energy. One such scene sees young Creed sprinting full pelt up the street with a squad of youths in tow to Ludwig Göransson's beautiful music is utterly triumphant. In another, Rocky visits a cemetery and will have you in tears despite the simplicity of the scene. As a writer, Coogler and his team do a marvellous job of retelling Rocky with enough variation to make it engrossing. Creed, raised Adonis Johnson, wants to prove himself in his own right and chooses not to accept his father's name. It becomes an obstacle for Adonis just as it was for the film. As "Pretty" Ricky Conlan, the film's antagonist, points out - the roles are reversed: our protagonist is the one who comes from money and legacy and genealogy, not the villain. The clever writing means that we can see both points of view. I also loved the cheat sheet way in which Coogler gives exposition, the camera freeze frames and information is shown on screen like real boxing. Not only stylish but helpful to deliver information.
Michael B. Jordan does a great job carrying the lead role of Adonis, especially in the heaviest scenes where he can flex his considerable acting chops. You don't question for a second that he's a boxer of considerable skill. He can also do a mean Brando impression. Tessa Thompson is Creed's Adrian with an achingly sad story of her own, which does much to elevate her from a generic love interest to a character in her own right. Sylvester Stallone, who I have unashamedly loved when everyone else hated him, gives a heartbreaking, tender and strong performance as Rocky. Its a performance very reminiscent of Micky Goldmill's turn in the original Rocky, with shades of Clint Eastwood Million Dollar Baby. Graham MacTavish and Tony Bellew come close to stealing every scene they are in as the antagonistic boxer and his manager who really does just care about his client and more importantly, his client's family. The chemistry between the co-stars is palpable and I come away wanting to spent more time with them, the same sentiment I had at the original.
The film's music is a huge achievement, with an original piece that is reminiscent of Rocky but able to be triumphant on its own. Teases of the original song from Rocky are hugely appropriate and enormously enjoyable. The film's cinematography is an absolute triumph, especially the unbroken long take that is a two-round fight in the middle of the film. Unbroken shots are becoming synonymous with exceptional cinematography, but the sheer challenge of creating such a scene is worthy of commendation.
Creed is a delightful film. The challenges facing Adonis are exactly the ones facing the film - the question of acknowledging your roots or trying to make it on your own. Unlike the fan service done in Star Wars, which too often felt obvious and too like the director was a big fan, the references to Rocky in Creed feel more natural and more like this film exists in the same world as the original.