"In the ring you got rules. Outside you got nothing, and life hits you with all these cheap shots."
There’s a certain conflict in enjoying the latest instalment
of a certain franchise whilst simultaneously hoping it is the last in the
bloodline. Everyone wants a film series to end on a creative high point, to
feel as if it bowed out with a flourish rather than limping off stage (I was
going to use boxing allegories for this but I don’t know enough about sports to
do so). With that in mind part of me felt this way after 2015’s ‘Creed’ as it
felt like a completed cycle for the ‘Rocky’ franchise, as well as the sheer
brilliance of the film itself. Now I have to ask, was that part of me right?
Against the wishes of trainer Rocky Balboa (Sylvester
Stallone), Adonis Creed (Michael B Jordan) accepts a challenge from the son of
Ivan Drago, the man who killed Adonis father in the ring during a 1985 fight. As
Adonis and Rocky prepare for the bought, they each find themselves grappling
with their own pasts as well as their own personal trials that continue to
follow them every step of the way.
Three years after its release I feel as if we do not always
appreciate just how remarkable ‘Creed’ was. For such a confident and capable
film to emerge from the shadow of a franchise many thought had been put to
rest, helmed by a young director in the form of Ryan Coogler who despite
impressing the indie circuits with ‘Fruitvale Station’ was relatively unproven.
It was a towering achievement of filmmaking that earned comparison to that of
the original ‘Rocky’ of 1976. With Coogler no longer in the director’s chair
for ‘Creed 2’ I was somewhat nervous as I wondered whether anyone could
continue Adonis’ story with the same impactful skill.
In some ways I was justified in being worried. Steven Caple
Jr, though clearly capable when it comes to directing, lacks the stylistic flourishes
of Coogler which elevated ‘Creed’. I must stress that I’m not demeaning Caple
for what is a very confidently assembled directorial effort, but his shots feel
slightly less evocative than his predecessor, his cutting has less kinetic
energy to it and the punches seem to leave less of a visceral impact.
I also confess to not being a fan of the aesthetic of ‘Creed
2’, with its murkier palette and lower contrast. Again it is less of a glaring
issue with the film itself but more of a problem when compared to its
predecessor, which stood out from the crowd partly due to Maryse Alberti’s
vibrant yet grounded cinematography. That being said, Caple has several
striking set pieces to work with which he uses to create several striking
compositions. Images like Adonis shadowboxing underwater or the overhead shot
of him running through a vast expanse of desert stand as being some of the most
memorable images of the entire ‘Rocky’ franchise.
Despite not equalling its predecessor, ‘Creed 2’ is by no
means a disservice. Its story is laced with dramatically powerful moments which
land with their intended effect due to the script’s clear affection for its
characters. It’s this affection which allows the narrative to lead these
characters down unexpectedly interesting threads and then explore them to a
worthwhile extent. Rather than feeling like heavy handed melodrama, the events
that transpire in ‘Creed 2’ simply speak to the need to have the characters
develop, whilst progressing in such a way that highlights how strong the
characterisation is from the outset.
In some ways ‘Creed 2’ actually manages to create a more
complex layout than Coogler’s film. Though this sequel feels less refined in
its vision, that could be due to its attempts at creating a more nuanced
palette for the characters. The goals of Adonis, Bianca and Rocky are less
singular in this instalment. They balance the conflicts and tribulations of
their lives as they continue to evolve. Even Ivan Drago, a character introduced as nothing more than a
cold killing machine, is bestowed some emotional nuance in terms of what
motivates him to act the way he does throughout the movie, as well as a
satisfying resolution to that arc.
This all gives the actors plenty to work with, which
definitely adds to the films strengths given how fantastic its cast is. Jordan
is unafraid to emphasise the vulnerable aspects of Adonis, and this trait
within his performance serves to make the protagonists journey all the more
compelling. Thompson meanwhile has more emotional weight to carry in this film
due to Bianca having a more immediate impact on the narrative, which she
handles impeccably. Once again the character never feels like an accessory to
Adonis, but a fully-fledged partner.
Stallone doesn’t quite recapture the evocative depth of his
portrayal of Balboa in ‘Creed’ but that is more due to the narrative placing
less emphasis on the character. Here Rocky is more assured of his role as
mentor, while still giving Stallone just enough to make his presence feel
relevant and worthwhile. But Stallone revealed surprising depth in the first
film, it is Dolph Lundgren’s turn to do just that in the sequel. The film uses
Drago’s previous characterisation to its advantage as it takes a closer look at
what was seemingly a monster to reveal the human layers beneath, which Lundgren
garners with surprising empathy.
Despite not reaching the heights of its predecessor, ‘Creed
2’ is still a highly capable and emotionally fulfilling instalment of an iconic
series.
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