Creed 3 movie review

Michael B. Jordan has made his directorial debut in the ninth movie of the Rocky spinoff franchise, Creed III. Not only has he directed the film, but he also returns to the lead role of champion fighter Adonis Creed, son of Apollo. Jordan follows in the footsteps of Sylvester Stallone, who directed himself in four Rocky movies, and Ryan Coogler, his friend and collaborator, who helmed the original Creed. With the pressure of expectation, Jordan has created a film that honors the series' legacy while also taking the story forward. Jonathan Majors gives an outstanding performance as Adonis' childhood friend-turned-adversary.

The film takes a while to get going as it flashes back to 2002 in Los Angeles to establish the shared history between the film's eventual competitors. We see Adonis "Donnie" Creed sneaking out of his bedroom as a young teenager to watch his big brother figure, Damian "Dame" Anderson, dominate in underground fights. A violent confrontation on the way home one night seals both of their fates, with Adonis going on to greatness and Damian heading for an 18-year prison term. The story then moves ahead 15 years to show us that Donnie now has the boxing career Dame always dreamed of. Another jump to the present day reveals that Adonis has retired from the ring and is living a luxurious life in a modern mansion in the Hollywood Hills.

Jordan's eye for detail is on display as he efficiently reflects the kind of wealth Adonis enjoys with his wife, Bianca, and their deaf daughter, Amara. The minimalist elegance and creamy neutrals are the work of production designer Jahmin Assa and costume designer Lizz Wolf, indicating the tasteful, peaceful persona Adonis now seeks to exude to the world. Singer-songwriter Bianca is penning tunes and working with new talent as a producer while Adonis is shaping the next generation of fighters as a behind-the-scenes force at his own Delphi Boxing Academy. They both still long for the spotlight that once defined them, which creates an intriguing tension in the mix. Thompson brings an earthiness and sensitivity to this heavily masculine movie, while young Davis-Kent, a deaf actress, shines brightly in her first major role.

Phylicia Rashad returns with a crucial, graceful performance as Adonis' mother, Mary-Anne, and the frequent use of sign language as a means of communicating within the family is a meaningful, authentic touch. Dame, who has toughened himself in prison and now seeks the boxing glory he believes is his due, shatters their reverie upon his arrival. Majors brings a deeply unsettling energy to the role, and his imposing physicality ultimately makes him ferocious.

Jordan the director takes a seemingly simple scene in which Adonis and Damian share an awkward reunion dinner and tells a full, rich story with it. The close-ups, the pacing, the decision to hold on an actor's face for a beat or two longer than expected all convey so much meaning and subtext. The exchange is powerful for what it doesn't show—for what these characters don't tell us, for what they hold back strategically but we can sense, nonetheless.

"Creed III" also gives the people what they want, and that is: multiple training montages. Once it becomes clear that Donnie must get back into shape to fight Dame for the championship, the screenplay from Keenan Coogler and Zach Baylin hits all the uplifting beats you'd expect. The training scenes include running through the streets, on the beach, up a hill, punching, and sparring. There's even the sight of Adonis pulling an actual airplane through the sheer power of his pectorals, which is hilarious but also wildly entertaining.

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