In doing so, Jordan is following in the footsteps of Sylvester Stallonewho himself directed four of the “Rocky” movies, including the heartfelt “Rocky Balboa” in 2006. But he also had to follow the work of his longtime friend and close associate. Ryan Cooglerwho led the original “creed.” Jordan took all the pressure and expectations and turned it into a film that both honored the legacy of the series while spinning forward. And completely unsurprisingly, he gets powerhouse performances from his co-stars, including a haunting Jonathan Majors as Adonis’ childhood friend-turned-enemy.
“Creed III” takes a little time to get going, however, because it returns to 2002 Los Angeles to establish the shared history between the future competitors of the film. We see Adonis “Donnie” Creed come out of his bedroom as a young teenager to watch his older brother, Damian “Dame” Anderson, dominate the underground fights. A violent confrontation at home one night seals their fates, with Adonis rising to fame and Damian heading to 18 years in prison. The perfectly timed, beautifully placed game cut moves the story forward 15 years to show us that Donnie now has the boxing career Dame always dreamed of; another jump to the present 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 demonstrates the kind of wealth that Adonis enjoys with his wife, Bianca (Tessa Thompson), and their deaf daughter, Amara (Mila Davis Kent). Minimalist elegance and creamy neutrals—the work of a production designer Jahmin Assa and costume designer Lizz Lobo—immediately demonstrate the sweet, peaceful persona that Adonis now seeks to project to the world.
Just as Adonis is shaping the next generation of fighters as a behind-the-scenes force at his own Delphi Boxing Academy, singer-songwriter Bianca is writing tunes and working with new talent as producer. They tell themselves they’re content, but there’s an interesting tension in the mix because it’s clear they both still crave the spotlight that once defined them, nurtured them. Thompson brings an earthiness and sensitivity to this overwhelmingly masculine film, and the young Davis-Kent—who is a deaf actress—shines brightly in her first major role, more than holding her own. own rival veteran performers with his dazzling presence and timing. Phylicia Rashad also returns with a significant, beautiful performance as Adonis’ mother, Mary-Anne. And the constant use of sign language as a means of communication within the family is a meaningful, authentic touch.