All the Right Moves
January 19, 2016
Creed (2016).
D: Ryan Coogler. DP: Maryse Alberti. W: Ryan Coogler & Aaron Covington. Starring: Sylvester Stallone/Michael B. Jordan/Tessa Thompson/Phylicia Rashad/Tony Bellow.
Although over in America Creed has been out since Thanksgiving, here in the UK we have just gotten the film and in the nick of time for award season. The seventh film to center on Sylvester Stallone’s iconic Philadelphia boxer, Rocky Balboa, Creed breathes new life into series so ostensibly linked to its star. Having written and directed the thought-to-be final film in 2006, Rocky Balboa, sixty-nine year old Stallone was convinced to step into the ring once again. And no one should be disappointed.
Director Ryan Coogler and young star Michael B. Jordan first teamed up for the 2013 Sundance success Fruitvale Station. The film centers on the fatal story of Oscar Grant who was shot by police in the San Francisco metro station on New Years Eve 2008. By that point Jordan had already been in Josh Tank’s Chronicle and would go on to join Fantastic Four when Tank took on the franchise. His pairing with Coogler is evidently a creatively fruitful one as it’s clear throughout Creed that everyone was making the same Rocky movie. Coogler, who has yet to hit thirty, has already made a name for himself and will be taking the reigns of the new Black Panther film for Marvel.
Creed follows a similar trajectory of the 1976 original that Stallone wrote, cultivating its underdog to take on a fight where he is the sure fire loser. The film is therefore able to center its emotional worth on Stallone as the reluctant coach and Jordan as his famous opponent’s, Apollo Creed, bastard son. Living in the shadow of the name alone Jordan’s Adonis aka Donny searches for identity within a sport that killed his father. Jordan is a rare combination of focus, charm, and a dash of ego as Donny, but never lays it on thick. In the rare emotionally vulnerable scenes between the mentor and his charge their connection is truly touching and a brilliant exploration of masculine emotion and care. Stallone doesn’t preach too much and the gentleness he has always brought to Rocky is still there.
Creed recognizes its canon and Rocky’s world, but brings the focus of the boxing into the personal. Unlike lesser boxing turns like last year’s Southpaw, this film also shoots its boxing scenes not like their matches to be aired on television, but rather through the dynamic of trainer and boxer. French cinematographer, Maryse Alberti, who also shot 2008’s The Wrestler brings an intelligent touch to this athletic hyper masculine space. A running shot of Jordan down the street is quite memorable. Jordan’s romance with Bianca (Tessa Thompson) is allowed to breathe and build without the routine racial struggle apparent. Thompson has long been working since her days on UPN’s Veronica Mars and it’s great to see her shine and create a character that is not the usual generic sports girlfriend.
Creed is a hit on all accounts right down to its music. It is hard not to feel your heart lift and your hand itch to punch the air when Rocky’s music comes on. Hopefully you feel as I did that this movie was made with tremendous love for its star Stallone and not for the money. Funny what we can find when we listen to our hearts and not our pockets.
That Boxing Movie You’ve Already Seen
August 8, 2015
Southpaw (2015).
D: Antoine Fuqua. DP: Mauro Fiore. W: Kurt Sutter. Starring: Jake Gyllenhaal/Rachel McAdams/Forest Whitaker/Oona Laurence/50 Cent/Naomie Harris/Victor Ortiz/Miguel Gomez.
Written by the creator of the FX series Sons of Anarchy, Kurt Sutter’s scripted Southpaw chronicles Billy Hope (blatant pun) whose supportive wife is tragically killed and he must put his life back together in order to gain custody of his daughter. All this was revealed in most theatrical trailers so there is not much surprise here.
It is difficult not to compare Southpaw with other successful boxing films. From Oscar winning performances in 2010’s The Fighter to 2004’s Million Dollar Baby to the entire Rocky franchise, there are plenty to choose from. Plus all the other films who’ve unsuccessfully punched their way through this sport. It is admirable to attempt to do something new here, melodrama be dammed. Yet Southpaw falls short because it simply feels like other films out there.
That being said hands down I loved Rachel McAdams as Maureen or Mo, Billy’s long life and love. From her fake nails to her lace up heals she has the sex and sass I wish I had seen more of from say Jessica Chastain in A Most Violent Year. Not on screen for long she makes enough of an impression for Billy’s, played by Jake Gyllenhaal, agony and heartache at the loss of her to feel genuine. Following a ‘fall from grace’ and ‘underdog rebound’ three act structure, Southpaw undulates with effort to highlight Gyllenhaal’s impressive boxing physique. It is simply not enough. His physicality is surely on point, but the meat of who Billy is dies with his wife and without her he lacks depth. His scenes with his daughter Leila (Oona Laurence) are probably his best. I wonder after Foxcatcher if Channing Tatum would have been the more believable choice? At least Eminem was not in it as planned.
Lastly, despite it’s predictability the boxing scenes are fabulously filmed and although not shot in Madison Square Garden or Vegas, deftly disguised. Yet much like Billy’s original offensive boxing strategy you can see the film’s choices from miles away. If not that then you can at least see 50 cent’s fedora trying to add character to his stereotypical friend whose in it for the money. I’m not going to even bother mentioning Forest Whitaker.