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2015's
Creed was the best kind of surprise. What
seemed destined to be a sad resurrection of a franchise already long past its
prime turned out to be a benchmark moment for sports movies, combining
heart-pumping pugilism with the same kind of tender romance that underscored and
grounded the original Rocky. As Adonis 'Donnie' Creed, Michael B. Jordan
delivered a fearless performance laden with vulnerability and irresistible
charisma, while Sylvester Stallone's reserved turn reminded audiences that
beneath his tough guy exterior remains a capable actor possessed of some
emotional range. Those same qualities and performances are again present in
Creed II, although the story itself unfortunately fails to match the power and
drive of its predecessor.
The setup is certainly juicy enough. Viktor Drago, son of Ivan – the man who
killed Creed's father Apollo in the ring during Rocky IV – arrives in
Philadelphia with his father and challenges the newly-crowned heavyweight
champion of the world to a fight. It's a chance to "rewrite history" as Donnie
tells his mother. But Rocky's heart is filled with dread, with his sense of
guilt over Apollo's death a constant companion. Refusing to train Donnie, he and
his protégé part ways until a tragedy of sorts brings them back together and
it's time for another classic training montage. Outside of the ring, Tessa
Thompson gives Creed II some much-needed personal drama as Donnie's girlfriend
Bianca, delivering another passionate performance imbued with a great deal of
heart despite being disappointingly relegated to a more secondary role this time
around.
Directed by Steven Caple Jr. taking over from
Black Panther's
Ryan Coogler, Creed II is clearly at its strongest in the ring, where its
glorious combination of POV camerawork and sumptuous sound design contributes to
an almost uncomfortably visceral, bone-crunching experience. Slow-motion is used
more sparingly than is usual in boxing films, reserved here for the truly
devastating body blows and upper-cuts.
The writing, however, is notably weaker, due perhaps to Coogler's absence (save
for an executive producer credit). The screenplay, co-written by Stallone, still
has its moments, but lacks the nuance and restraint that helped make Creed into
something special. There are too many lines that sound like they were ripped
straight from fortune cookies ("It may not seem like it now, but this is more
than just a fight"), while the periodic narration from the TV and ringside
commentators that added so much authenticity to the original is downright
abysmal in the sequel. Countering this, thankfully, are the fine repeat
performances from Stallone, Jordan and Thompson, whose chemistry and closeness
continue to sizzle on screen. The joy of seeing Dolph Lundgren return as Drago,
too, is a highlight. Particularly in a scene with Stallone at Adrian's
Restaurant. It's a shame that Lundgren isn't given more to do. He's formidable
in his too few scenes.
Similarly, the most interesting character in Creed II is also its least
explored. Viktor Drago is an irresistible combination of brute physical force
and deep-seeded emotional turmoil, neatly packaged inside the 6-foot-4 mountain
of muscle that is Romanian boxer and fitness model Florian Munteanu. Abandoned
by his mother, weaponized by his father and ignored by his country until a
string of victories bring him into the light, Viktor's most compelling fight is
the one that's unseen. As he and his father are welcomed back into Russian high
society, the young Drago finds no satisfaction in his celebrity, acutely aware
of the fair-weather nature of the fans and disgusted by his father's seemingly
instant compliance with those who rejected him (including Viktor's mother). Yet
Munteanu finds himself forced to play a caricature – although he manages to
sneak in moments of emotional subtlety where he can.
Indeed, why they fight is at the heart of both fighters' story in Creed II.
Driven by reasons that at first seem clear, both Viktor and Donnie soon find
ambiguity and doubt needling their way into their respective psyches. By the
time the big finale arrives, they remind you of soldiers on a battlefield,
bloodied and beaten, yet ultimately more like brothers than enemies – men sent
to destroy one another at the behest of those safe behind the lines. As much a
father/son story as it is a boxing one, Creed II's tale of family and redemption
ultimately doesn't match the quality of the original. Even so, it's a compelling
sequel, and worthy of your time. |