CREED

“Rocky, Apollo Creed’s son looks at you and says, ‘family.’ What does that mean to you?” “It means I’m a lucky guy, what can I say.”

Creed is a rather formulaic movie, that formula being “Rocky movie.” To be clear, “Rocky movie” is a genre unto itself. It is a dialect within the language of underdog movies within the family of languages of sports movies. This latest entry fulfills the promise of that dialect.

Following in the footsteps of the recent Fast and Furious sequels, Creed incorporates all of the most ridiculous elements of the previous sequels in the series and turns them into something beautiful. But whereas those car movies have become increasingly over-the-top, this latest boxing tale scales back to the intimate size of the original. It is essentially the same story as Rocky, but Creed utilizes this framework to key into the heritage and possible futures of its main characters. Adonis Creed’s biggest accomplishment is not going the distance but instead, living up to his personal identity while nourishing his place in his family (birth, makeshift, or otherwise).

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