Creed III

Director: Michael B. Jordan
Starring: Michael B. Jordan, Tessa Thompson, Jonathan Majors, Wood Harris, Thaddeus J. Mixon, Spence Moore II, Mila Davis-Kent, Florian Munteanu, Phylicia Rashad, José Benavidez Jr., Selenis Leyva, Anthony Bellew
Running Time: 116 min.
Rating: PG-13

★★★ (out of ★★★★)

Now seemingly even further removed from its Rocky origins, Creed III contains something few films in either series had: a supervillain origin story. Making his directorial debut, star Michael B. Jordan asks the audience to consider what kind of movie we'd have if the 1977 original focused entirely on Apollo rather than Rocky, or maybe even if the fourth was instead titled "Drago." While both those memorable antagonists were far from afterthoughts, Stallone's underdog role always served as the driving narrative force. And that successful formula would be reinvented in this series with Apollo's son, Adonis Creed, who had to fight from the bottom up to prove himself. Two films in, he's done that, so it's as good a time as any to cut ties and try something new. 

A similar blueprint remains, but gone is Stallone (who's still credited as a producer) and Bill Conti's rousing "Gonna Fly Now" Rocky theme. Neither absence is surprising since they're not all that necessary in fleshing out a story with different stakes. A film anchored by Apollo's adversary should be a misalignment of priorities, if not for the fact that their backstories are so intertwined and far more complex than we're used to seeing in the franchise. This time the villain's the underdog, and for a while you understand where he's coming from, making his reemergence especially problematic for a hardly blameless Donnie. It's not just a matter of when we get to this ultimate confrontation between two former friends with a messy, violent past, but how.

It's 2002 Los Angeles when a young Adonis Creed sneaks out with his older best friend, amateur boxing prodigy and Golden Gloves champion Damian "Diamond Dame" Anderson to a match that Damian wins. But later, when Donnie attacks a man in a liquor store altercation and escapes while Dame's arrested, their lives take very different paths. We cut to the present, with Donnie (Jordan) retired from boxing, instead focusing on wife Bianca (Tessa Thompson), their hearing-impaired daughter Amara (Mila Davis-Kent) and his adopted mother Mary-Anne's (Phylicia Rashad) declining health. 

Donnie's promoting his boxing academy protégé Felix Chavez (José Benavidez Jr.) for an upcoming world title defense against Viktor Drago (Florian Munteanu) when he receives a shocking visit from Dame. Released from prison after twenty years, he's seeking help from his childhood friend in resuming his boxing career. After reluctantly agreeing to let Dame train at his gym, it soon becomes apparent his intentions aren't what they appear. Angry, jealous and believing Donnie's enjoying the life he should have, he's back for the title and respect, and won't hesitate running through anyone in his way to get it.

Seeing a retired Donnie in promoter mode is a reminder of just how far we've gotten in the series, as he seems content having passed the torch, thriving comfortably in his new role. What works best about this setup is how the events of the preceding films almost feel as if they occurred centuries ago because he's at such a different stage now. While far from old, his fighting days are behind him and he's settled into a new career as trainer, business owner and ambassador for the sport. If Donnie has any itch to get back in the ring, he's not showing it, which makes Dame's return more impactful, dredging up one of the most emotionally painful moments of his life. And for a story that was essentially cooked up on the fly and never previously acknowledged, it's compelling. 

Donnie knows the friend he loved as a brother spent most of his life in jail because of him, with Jordan subtly conveying this burden he's carried while rising to the top of the boxing world. It retroactively adds another dimension to our protagonist, perhaps partially explaining where all that drive and determination came from. Despite reaching the pinnacle, it's entirely possible he's always secretly seen himself as a fraud and not deserving enough. Dame knows he should be Donnie, and based on what we're shown, it's easy to believe he's right. 

If Dame got a raw deal, his monstrous actions soon cause our sympathies to waver, as he uses Donnie's guilt and generosity to his advantage, all while resisting the notion he's interested in taking any handouts. Dame knows exactly how to get to him and Majors takes us on a ride with his slow-burning turn, brilliantly playing both side of the fence before exposing the character as the dangerous threat he is. 

Simmering with rage and carrying giant chip on his shoulder, Dame knows the clock's running out, with Majors believably transferring the ex-con's most vicious traits to the ring. With moves that sometimes more closely resemble a street brawler than former boxer, there's an undeniable physical transformation, but not an entirely unrealistic one, as he climbs back to fighting form. Everything about this guy is scary, especially how he propels out of the corner at the start of each round, nearly dancing in the face of his prey before preparing to pounce. 

Reopening a painful chapter he thought was closed causes Donnie to completely shut down, straining his relationship with Bianca, who hadn't a clue about this part of his past. He's also in no hurry to tell her, even as his ailing mother Mary-Anne knows the history all too well, harboring strong opinions about what he should do. The big fight sneaks up on you in terms of how fast we get there, but all the groundwork's been laid, with Donnie realizing only one thing can settle this for good. 

Jordan makes some inspired directorial choices in the final match that lift it to another level, particularly a dreamlike sequence that visually hammers home just how personal this feud is. Even then, the film doesn't take the easy way out, reminding us this isn't a battle of good and evil. Mistakes were made, choices dictated their paths and a confluence of unpredictable events led them here. Regardless of its eventual outcome, the fight was always inevitable, as both men desperately need this to shed their pasts and move forward.

Some of the usual franchise tropes are still prevalent, but the core story and performances carry it through. Keenan Coogler and Zach Baylin's script skillfully create this antagonist from the ground up, but it's Major's charismatic work that makes him incomparable to any final boss since Apollo or Drago. Knowing the series inside out, Jordan invisibly takes the directing reins from Ryan Coogler with no noticeable dip in quality, nearly equaling the first film while surpassing its unspectacular 2018 sequel. You could even argue he does certain things better, building a relationship complicated enough that when it's time for the champ to put back on the gloves, we're all in.