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“Creed II” Full Film Review

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A truly heavyweight champion of cinema! Adonis Creed will hit you right in the feels. This brilliant installment in the Rocky/Creed franchise is an exemplary example of the power of cinematic storytelling. Creed II is a knockout! Sylvester Stallone and Michael B. Jordan’s respective performances are outstanding and Steven Caple’s direction is superb. Like with the original Rocky, this is not a film about boxing, it’s not about winning, it’s about going the distance supported by the inner drive to settle old scores, redemption, grief, loneliness, and the relationship between fathers and sons. Furthermore, it calls into question the reasons why we do what we do–the real reasons. So often we try to convince ourselves that we are determined to execute a plan for reasons other than the real ones, because the real reasons are too painful. The Rocky movies could so easily be about the sport of boxing, training, and winning; but they consistently include impactful, relatable, gritty themes that resonate with the audience. Whether you are familiar with boxing or not, this film will hit you with its powerful subtext and messages of redemption that we can all identify with. Whereas the original Creed did not feel highly connected to the Rocky cinematic universe, Creed II reminds us of the connection at every punch, block, and jab. The film also offers social commentary on the fickleness of glory and just how temporary and fleeting it can be. Sylvester Stallone and Cheo Hordari Coker’s screenplay follows the Rocky Way of doing things, much in the same way that Marvel has the well-known manner that Marvel stories are told. Even if you have not seen the Rocky movies or Creed, you will be moved and entertained by this film. Suspenseful, tense, and even comedic at times, Creed II is one to look for when Best Picture nominees are announced.

Recently crowned the heavyweight champion of the world, Adonis Creed (Michael B. Jordan) does the thing that makes him more nervous than the most intense fights–proposes to his girlfriend Bianca (Tessa Thompson). Encouraged by his coach, the former world champion Rocky Balboa (Sylvester Stallone), Adonis takes the leap and asks the love of his live to marry him. And upon a visit to his mother Mary Anne (Phylicia Rashad), Adonis and Bianca find out that they are pregnant. The family time and celebration are short-lived when the son of Ivan Drago challenges Adonis’ title to the fight of the century–the Creed/Drago rematch fight that the world is waiting for. Saddled with a new engagement and the pregnancy of his fiancee, Adonis must decide if he’s willing to risk his life to settle an old score because he knows what it’s like to grow up without a dad. Soon, this date with destiny becomes an obsession that invades Adonis’ every thought and action. Against the wishes of his mom, fiancee, and Rocky, Adonis accepts the challenge from Drago’s son who Rocky describes as a monster because he has nothing to lose, whereas Adonis has everything to lose.

For fans of the Rocky franchise, this is the sequel that you have been waiting for in the Rocky cinematic universe. I liken this sequel to the recent Halloween because it feels connected in every way to the original but provides us a new story within a familiar world told through gripping characters and conflict. Beneath the surface of this high-concept plot, beats the heart of a low-concept family drama that hooks you with its relatability and intense moments that consistently keeps you drawn into the story. Creed II has many heavy moments, and could have felt overwhelming if it wasn’t for the comedic relief provided by Sylvester Stallone’s legendary character of Rocky. There are certainly plenty of somber, heartwarming, and emotionally poignant moments, but Rocky injects a little lightheartedness when it is needed to keep the emotional roller coaster going. The themes of this film are dramatized and paralleled by the training and boxing matches. Heavyweight characters paralleling heavyweight themes. Adonis’ external goal is not to win; it’s to go the distance with Viktor Drago to prove that he is a champion in and outside of the rink and therefore worthy to be a father. But what drives Adonis and Ivan Drago’s son is their need to uphold a legacy–legacies of sons haunted by their fathers. Further subtext of the film suggests that both of fighters are seeking redemption in order to fill a hole in the heart left by varying degrees of loneliness and grief over loss of relationships. In addition to the goals of Adonis, Rocky is also on a journey that is driven by his involvement in the life and training of Adonis. Rocky’s goal is to reunite with his son whom he estranged. Lots of father and son relationship internal needs in this story.

The performances are incredibly authentic. All the way around. Michael B. Jordan is well-known to be a charismatic actor who has a wide range that makes him someone whom is fun to watch on screen. He can communicate so many emotions through his face. Talk about commitment to character. I was completely sold on his character of Adonis both in and out of the rink. Displaying genuine emotion, I cared deeply about his successes and failures. In many ways, I think of him as a superhero in the vein of Captain America. Perhaps he does not have “superpowers,” but he is a hero to his family and to his community. I cared about what happened to him. Interestingly, even Viktor Drago will tug at your heartstrings because of the circumstances from which he comes. He truly is the definition of underdog. While we are rooting for Adonis to win, we cannot help but empathize with Viktor due to his somewhat warped relationship with his father and being abandoned by his mother and the community after his father lost to Rocky. Despite his evil outward appearance and behavior, Viktor is ultimately trying to prove himself to his father, estranged mother, and the Russian people that he is a champion and worthy of their adoration and love. Rocky represents the loneliness and solitude of boxing. Beyond that, he is also the compelling moral compass of Adonis and the “wise old man” teaching our central character how to truly be a winner in both is professional and personal life. In one of the lighter, yet equally heartwarming scenes of the film, Rocky is sitting by Adrian’s grave, talking to her about how he feels like a “chunk of yesterday” who cannot reconnect with their son (and later we learn, grandson). Rocky, Adonis, and Viktor all have ghosts of their pasts that they are battling much like the fights in the rink.

The film is not without its strong female characters as well. In fact, we have two amazing women who provide so much substance to the story. Humanizing Adonis is his fiancee Bianca. Moreover, her role in this film can be likened to the one once filled by Rock’s Adrian. Her performance is excellent, and she steels a few of the scenes. Thompson delivers the same grit, gumption, and emotionally powerful performance that she gave in the original Creed. Thompson’s Bianca acts as the complement to Rocky’s moral compass. She and Rocky represent two different sides of Adonis that need coaching. Adding to the emotional baggage in Adonis and Bianca’s home, Bianca continues to lose her ability to hear and wonders if their new baby will suffer from the same physiological condition. She is a phenomenally strong character who refuses to let her encroaching hearing loss to affect her quality of life. The audience was extremely delighted–audibly so–when Phylicia Rashad appeared on the screen for the first time as Adonis’ mother. Her character never backs down to her son and the deathwish he has. Deathwish in that Ivan killed his father before he was born, leaving Mary Anne a widow and mother. So, death is a real possibility in this fight of the century. She is strong in principle and convictions, and stands up to what she feels is a poor decision. However, when Adonis makes the decision to fight Viktor, his mother is supportive as a mother is even when she disagrees or fears for her son’s life and now a negative outcome from the fight will effect his fiancee and newborn daughter. Her performance is exemplary; there are times that she steels the scene from Adonis. Mary Anne and Bianca deliver moments to the audience that remind us that this film is full of heart and there are moments worth audibly cheering for. Cheering is something that you will likely hear in the auditorium. The energy level was as high as it is likely at a real boxing match.

It’s not about a fight, the film is about what the fight represents in the lives of those affected by it. Beneath the fighting platform and behind the gloves are relatable conflicts and emotional burdens that serve as a foundation upon which the drama is build and plot is driven forward. On the surface, the plot may seem like something that has been done before, and to some extent, there is a lot of Rocky and Rocky IV in this film; but, this plot contains so much depth of character that truly allows the heroes journey to shine. Not all superheroes wear capes. If it was up to Edna Mode, none of them would. Triumphs, failures, and personal and interpersonal growth are experienced by Adonis and Rocky. While so many sequels fall victim to sequelitis, Creed II meets and exceeds expectations! It’s a compelling story that till have you hooked from bell to bell.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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“Overlord” full movie review

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Surprisingly deep! The best kind of bait and switch is when you go in with moderately low expectations and get blown away by how incredibly well an experimental film dances the line between two genres and provides us with rich writing and excellent direction. At the end of the day, it is still a glorified B-movie, but it’s a B-movie that has so many A-list qualities about it. Often when the term experimental is attributed to a film or movie, it is usually because of a particular stylistic choice by the director; however, I chose that description for this movie because it blends the war (WWII) genre with horror and action to create a movie experience that is incredibly thrilling and creepy. Not for the weak stomached, this movie contains quite a lot of war and horror violence, but the gore and violence are never the focus but used to enhance the visceral experience of the movie. The focus of the movie is on the mission of the American soldiers to take out a signaling tower for the Nazi forces, and we never forget that. For all the complexities of the film, the plot is superbly simple and the main characters moderately complex. If there is one singular fault of the movie, it is that the character of opposition (Wafner) is not as interesting as our central character of Boyce. Supporting the lead cast are fantastic side characters who are mostly there for some comedic relief. While the horrors of Nazi medical experimentation led by the sadistic Josef Mengele are still stomach-churning to this day, the end of this movie contains a brilliant payoff that takes what the Nazis may have been doing right before D-Day, and turns it against them. The Nazi’s are defeated by a member of a group that would have been on their extermination list. If you’re thinking that this is going to be another Dead Snow, you would be wrong. Takes what Dead Snow did well and combines it with the best of WWII movies to deliver an exhilarating movie!

Hours before the real life D-Day, a small group of American soldiers survive a airborne battle above France, and must work together, through their differences, to destroy a signaling tower in village near Normandy in order to allow the Allied forces to storm that infamous beach to deliver France from the clutches of Nazi occupation. The US soldiers soon realize that there is more going on than an oppressive Nazi occupation in the village. As the soldiers inch their way toward the former church, now a Nazi camp, they discover that the evil Nazi medical experimentation goes way beyond unethical and even immoral to downright sadistic. In an effort to solidify the Third Reich’s rein over the world, they have developed a serum to make super soldiers that has some horrific side effects. The allied forces must face not only the Nazi forces but the undead as well.

Why does this movie work as well as it does? Easy. The screenplay by Billy Ray and Mark L. Smith and direction by Julius Avery. Ray is known for Captain Philips and The Hunger Games, Smith for The Revenant. Avery is still relatively new to directing feature films, but demonstrates a strong ability to work with a blended genre that provides audiences with an exciting big screen time. With Avery still earning his chops for feature films, the fantastic screenwriting and story serve as a solid foundation upon which the other elements are built. At first glance, this movie seems like one that would essentially one that is just schlocky fun, or perhaps one that tries to take itself seriously but fails miserably in a way that makes it painful to watch, and ultimately forgettable. But to great surprise, the movie not only delivers a thrilling WWII horror movie but one that is produced with dimension, depth, and visual precision. Although not writing or directing, J.J. Abrams penchant for incredible visuals and heart-pumping action is seen throughout the movie.

Before discussing the performances and visuals of the film, I want to focus more on why this film is much deeper than it first appears. On the surface, it is a WWII action horror movie but beneath the surface, the screenwriters confront the audience with concepts and questions that are creatively woven into the high concept plot. Chief among these is found in our central character of Boyce. He’s a young black male fighting alongside these hard-hearted soldiers. While his counterparts are mostly jaded, he maintains a morally sound world view amidst the harsh realities of war. The fact that the film depicts a young black male as the hero during a time in our country that was about to experience great civil rights unrest, is a testament to the creative and effective approach to this story. He plays the role that is often given to a white actor, but I immensely enjoyed the charisma and talent he brought to this role that shows a progressive film. Regarding the rest of the American soldiers, each soldier represents a different kind of character, providing audiences one with whom they may be able to identify.

In addition to the fantastic casting choice in Boyce (Jovan Adepo), the screenwriters also confront the audience with the question of what truly separates us from our enemies when the only means to defeat them is stooping to their level. Including a message such as this one allows us to use the situation as an allegory in our present culture that is growing increasingly divided, and hate seems to abound. Where do you draw the line in the course of war or a philosophical battle? Ostensibly giving the middle finger to the damsel in distress, this film delivers an independent badass heroine in Chloe (Mathilde Ollivier). Such a strong female character in this movie, Chloe refuses to stay in her home and allow the American soldiers to fight for her. And she is so strong that even the most masculine of the soldiers accepts her tenacity and unbreakable spirit. Fortunately, the movie does not turn her into a love interest for the American soldiers. Many of the solders find her attractive, but she is never objectified by the Americans; however, she is objectified by the despicable Nazis. But fortunately for her, the infatuation the Wafner has with her, eventually brings about his demise.

Overlord delivers it’s visual tension brilliantly. And this is in party to the high degree of visual storytelling in this movie. The action sequences and special effects are extremely well produced. Avery’s movie rises above what we generally expect out of high concept action/horror movies to provide audiences with gritty, gnarly special effects and makeup effects. There is a realness to the atrocities of war felt in this movie that can be greatly appreciated. That realness is achieved by a large percentage of practical effects supplemented with digital effects. As I have pointed out before, relying upon mostly CGI robs the audience and the actors of authenticity. CGI cannot completely replicate the way real light bounces off real objects and into the camera. That sound mix, tho! If anything assaults your senses as much, if not more than the gruesome visuals, it is the ridiculous good sound design and mix. Definitely watch this film in IMAX or Dolby Digital (or the equivalent) if it is available in your area.

If you are seeking a horroresque gritty action movie, then this is one that you do not want to miss. It’s got everything you want from a movie that dances the line between horror and action. I cannot think of another horror action movie that does this as well with the exception of James Cameron’s Aliens (though, that one leans more towards action than horror).

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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Marvel “Ant-Man and The Wasp” movie review

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fANTastic! Although this installment may lack the grandeur of many of the Marvel Studios films, including the recent Avengers: Infinity War, director Peyton Reed delivers a fun, heartfelt, action-packed movie in the Ant-Man series that is sure to be a crowd pleaser. As someone who doesn’t typically fawn over superhero movies, with some exceptions like Batman Returns, I went into this movie with moderate expectations at best. Needless-to-day, my expectations were exceeded and I had a great time. Perhaps the story is rather shallow and even paint-by-the-numbers, but the straight-forward story is made fun and exciting by the incredible cast. This installment in the MCU is also marked by the significance of the captivating Michelle Pfeiffer’s return to the superhero genre. It’s been more than 26yrs since she wowed audiences with her roll as the definitive Cat Woman, and she still packs a punch during her short time on screen in Ant-Man and The Wasp. Is this a movie that requires a close reading or in-depth analysis? Certainly not. But, there is a running theme of change/size that is both literal and metaphoric. This may not be the at the top of your MCU favorites, but I can honestly state that you will not feel as if your time is wasted if you choose to take the quantum leap into this micro superhero movie.

After the events in Germany, Scott Lang (Paul Rudd) is under house arrest. Dealing with the consequences of being both a superhero and a father, Lang is challenged to still be a loving father to Cassie while figuring out how to continue his role as Ant-Man. Compounding the demands of being a father and superhero, Lang is also working diligently from home to build his security company in order to be the provider he wants for his daughter. Just when he has his routine down, and is getting close to being released from house arrest, he is kidnapped by Hope van Dyne (Evangeline Lilly) and Dr. Hank Pym (Michael Douglas) to help with a mission to rescue Janet van Dyne (Michelle Pfeiffer) from the quantum realm, a result of disarming a nuclear bomb many years prior. The search and rescue operation is thwarted by a ruthless southern businessman and a mysterious new ghost-like adversary. Under the ever-oppressing constraint of time and place, Ant-Man and The Wasp must cooperate in order to protect the quantum technology from falling into the wrong hands that could prohibit Dr. Pym from rescuing his wife.

While the movie, by in large, is pretty basic (solid, but basic), there is a great example of Hitchcock’s MacGuffin! If you’re unaware, a MacGuffin is the object that drives the plot forward, begins the domino effect, but ultimately does little more than trigger the plot. The definitive example of this is the money Marion Crane steals from the real estate office that sends her on the journey that lands her at the Bates Motel in Psycho. Not nearly as macabre, the MacGuffin in Ant-Man and The Wasp is the size-shifting office building of Dr. Hank Pym. Sometimes it was as large as a city block, and other times it was the size of a roller suitcase. In fact, if it isn’t already, I imagine that we will soon see this AS luggage that can be purchased at a Disney Park near you. The theme of size is demonstrated through small objects that become large and large objects that become small. Furthermore, this idea of playing around with size can also be witnessed figuratively through egos. Some egos are inflated–large–and need to shrink down to size or others are barely there and need to grow in order to not be overrun or overlooked. This theme is also displayed in how small people or objects can rise to the occasion, become a metaphoric giant in order to stop those who pose as obstacles to the goal. It is well-known that ants can carry several times their body weight, and we see characters in this film shouldering more than their fair share, but still manage to overcome any resistance or hurdles to accomplishing the mission.

Be sure to state for the mid-credits scene because it will answer the question that has been on your mind, “where was Ant-Man during Infinity War”? There is also a post-credit scene that is cute but won’t provide any further insight into the next Ant-Man or Avengers movie. With the return of Michelle Pfeiffer to the superhero genre, I am excited to see how the MCU will integrate her into the narrative because she possesses a powerful screen presence that should not be under-utilized. Unfortunately, this could mean that we may not get to see her reprise her role as Cat Woman in a future DCEU film, but her beauty and charisma will certainly add a touch of class and strength to the MCU.

While most MCU movies are suitable for all audiences, there is some content in the dialogue that may not be appropriate for those under 13. So parents and siblings, just be aware of this before taking children to this film. It’s not nearly as adult as Deadpool but it leans more toward a teen and adult film more than kids.

Blumhouse’s “Upgrade” movie review

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Black Mirror on crack. That is precisely what Blumhouse’s Upgrade can be likened to. Outstanding commentary on the convergence of humanity and technology that provides many thought-provoking moments. Best known for its horror, this action thriller from Blumhouse will have you on the edge of your seat the entire time. Rooted in classic science-fiction, this thriller will also deliver a healthy dose of dark comedy, heart-pounding action, and acutely shockingly violent scenes. Writer-director Leigh Whannel crafts a brilliant motion picture that is one part vigilante Robocop and another part Dr. Frankenstein’s Monster. On the surface, Whannel’s thriller comes across as a B-movie done well, but it contains prolific content that will likely inspire conversations about the relationship between humanity and technology. Perhaps it was not the intention of Whannel (co-creator of Insidious and Saw) to write a motion picture steeped with commentary on the human condition and a harbinger against allowing technology to fuse with our minds and bodies, but there is certainly material here to discuss those deeper topics. Bumhouse’s Upgrade is certainly a big screen experience, so catch it while it is there!

Set in the not-so-distant future, cars drive themselves, pizzas can be printed at home, and Alexa is built into your house. After dropping off a completely rebuilt 1980s Firebird Trans-Am at a client’s hosue, Grey Trace (Logan Marshall-Green) is left a quadriplegic following a brutal car accident and mugging that also leaves his wife dead. While recovering in the hospital, Grey is approached by a major tech company owner about an experimental surgery that is theorized to enable Grey to regain his motor skills. It worked! Only now, Grey’s realized that he has cat-like agility and reflexes as well as increased strength. With his newfound abilities, Grey seeks to assassinate those he blames for his wife’s death.

Better have an iron stomach in order to watch this thriller, because Whannel prefers shocking moments in abundance. Whereas this film is certainly not a horror–as the intent of the film is NOT to horrify audiences–it certainly contains elements borrowed from horror films in order in increase the level of threat. A director friend of mine from Germany characterized the film has having tones of a John Carpenter movie combined with Drive by Nicholas Winding Refn. Though set in a possible near-future, the cinematography, score, and lighting are quintessential 1980s. No surprise as 80s is en vogue in our movies and TV shows. Grey’s “everyman” character archetype enables audiences to identify with him quickly, thus root for him as he takes the law into his own hands to avenge the brutal death of his beloved wife. It’s the simple revenge plot that enables Whannel to build a complex character delivering dark humor and visceral violence.

Definitely an entertaining science-fiction thriller! If you enjoy TV shows like Netflix’ Black Mirror and movies like Drive, Halloween, Frankenstein, and Robocop, then you’ll certainly like Blumhouse’s Upgrade.

“Life of the Party” movie review

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Positively uplifting! Melissa McCarthy and Ben Falcone’s comedy Life of the Party releasing everywhere today is a quintessential Mothers Day flick that you can take your mom to and enjoy together this Sunday afternoon. McCarthy shines as the brilliant comic she is in this film. Whereas she is typically the brunt of the jokes in the film’s she and her husband often cowrite together, this film provides McCarthy with a platform to truly showcase her talents as a comedic actor who can not only play the butt of the humor but also the vixen who’s captured the eye of a hot frat guy as she sets out to complete her education. McCarthy’s brand of comedy–that authenticity, candidness, optimism–that we have come to know and love, will have laughing and empathizing throughout the movie.

Although themes such as inspiration, determination, and resilience are not uncommon for a comedy, I appreciate many tropes often associated with fish-out-of-water plots were abandoned for something more unconventional yet infectiously charming. Instead of ultimately changing herself for the world around her or changing the world to fit her, she finds her place in the world and creatively directs it to make room for her. Whatever your age, you will likely find yourself connecting with one or more of the characters in this film as it proves that you are never too old to learn something new or complete that which you chose not to earlier in life. From acoustic guitar tunes to Cyndi Lauper and even a surprise performance by Christina Aguilera, the music will have you dancing in your seat. Watch as nervous, scared girls who are afraid of unknown elements in school, grow to become incredible women who form meaningful relationships and heal from tragedy. Each of the principle cast is unique in some way, and it’s these traits that setup conflict and allow the comedy to flow from the conflict naturally. From McCarthy’s Deanna’s endearing vampire-like roommate who low key longs for a friendship to the girl who is also a non-traditional student because of being in a coma for eight years, the film is filled with a colorful cast of likable characters and of course Deanna’s ex and mistress who we love to hate.

McCarthy is joined by comedienne Maya Rudolph and the pair of them dominate any scene they are in together. It never feels overwhelming because they are both saying precisely what you and I are thinking. The two of them exhibit kind of friendship that perhaps your closest friend and you desire to have. Although there is a mild degree of suspense, the film derives most of its energy from the brilliant cast’s reactions to the varying conflicts throughout the film. As there is not much to analyze in this film, you’ll find this review far shorter than my usual ones. But, I desired to write up a piece on it because it’s been largely panned by most critics. Variety and I seem to be among the few who find so much that’s “right” with this film as opposed to what’s “wrong.” Maybe it’s not terribly deep, but it boasts a simple plot with complex characters that provides McCarthy with an opportunity to show a different side to her trademark comedy. With honors!