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Creed III Review | No Rocky, No Problem

This is the Jonathan Majors antagonist I’d want to see as a big bad.

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Once upon a time, 13-year-old me was making my way from my orchestra seat onto the stage of the Winter Garden Theatre and finding my place on a set of bleachers. It was main event time. Teenage me sat in awe of the choreography, the lights and most importantly, the music of Rocky the Musical, which made its way to Broadway after a successful run in Germany. If that doesn’t speak to the versatility of the Rocky franchise, I don’t know what will.

Soon after Rocky the Musical closed on Broadway, the Creed franchise began. Like the recent Star Wars sequel trilogy was supposed to, the Creed films have all had a different director. Ryan Coogler directed the first installment before Steven Caple Jr. helmed the second and in steps the series’ star, Michael B. Jordan, to close out the trilogy. Unlike the Star Wars sequel trilogy, the Creed franchise’s latest installment and trilogy closer, Creed III, is the best of the bunch and ends this trilogy on a high note. Full of visceral action, compelling drama and fantastic performances, Creed III packs one hell of a punch (that was my obligatory boxing reference) and is the best film of the trilogy. 

A still from Creed III. Photo courtesy of MGM.

Creed III begins with a flashback to a young Adonis (Alex Henderson plays the younger Adonis and masterfully gets Jordan’s chuckle and aura down) and his pal Dame (played by Spence Moore II as a kid and Jonathan Majors as an adult). It’s clear that Dame is a boxing prodigy and on his way to the life that Adonis ends up having. “You’re gonna be there too,” a young Dame tells Adonis, “someone has gotta carry my bags.”

That fate changes after he gets arrested. In fairness to Dame, he’s just looking out for his friend as Adonis is jumped after attacking their foster home father, but that argument doesn’t get you very far in court. 

Fast forward 18 years and Adonis is still living his best life. Much like Rocky by the time of Rocky III, the gloves are away and he’s spending his days playing the part of the frog his daughter Amara (Mila Davis-Kent)’s backyard productions of The Princess and the Frog while Bianca (Tessa Thompson) spends her days locked away in the studio producing music. But like they say, you can take the man out of the boxing ring, but you can’t take the boxing out of the man, so Adonis still spends time in his gym where he checks in on the up-and-comers. 

A still from Creed III. Photo courtesy of MGM.

That’s when Dame makes his reemergence, not asking for a handout, but the opportunity he never got. He knows time is ticking on his career, and as fate would have it, the number one contender for the World Heavyweight Championship is taken out of commission and Dame is given his one chance. For the sake of spoilers, I won’t go any further into detail, but I’m sure you can guess where that heads. 

Just as Jordan puts a twist on Rocky’s iconic “it’s not about how hard you get hit” line (if I could remember it, I would’ve written it here), Creed III veers away from a lot of the house that Balboa built and is its own thing. Jordan really puts his fingerprints all over this film and makes it his own. I’m sure Jordan was heavily assisted, given that this is his directorial debut and all, but you can’t help but be in awe of what he did. 

The boxing scenes are vital to any boxing film (obviously), and you may not want to admit it, but the Rocky and Creed franchises were in dire need of some shaking up. The formula of showing the entire first round in relative real-time and from there dissolving between the ring girls round after round can grow stale after eight installments. The fights are always satisfying, sure, but that template has been used in all of these films. Jordan finds a new way to expedite the process of the fights in Creed III, utilizing a more fantastical approach to his climactic boxing match. And the anime influences are seen throughout this fight as every whiff of the gloves is heard along with every punch landed (hats off to the sound team). As a result, the film is the most intense of any in the entire franchise to date (try not to squirm when one character takes their mouthpiece out and sees a tooth come with it). You even get a lot of the trash talk while the boxers are in the ring — something I remember being reserved for the time period in between rounds. Just masterful stuff. 

This is further enhanced by the Creed franchise’s utilization of its sponsorships and partnerships — which has only grown with each installment. Whether it’s the way they show Showtime documentaries or use Stephen A. Smith and First Take as a whole plot point, it makes Creed III feel like it takes place in reality. This dates back to Rocky Balboa, which I remember having Max Kellerman on commentary and likely used HBO as its PPV sponsor, but Creed III really took it to the next level by doing product placement that’s not as obnoxious as the Audis in the MCU movies. 

A still from Creed III. Photo courtesy of MGM.

Jordan not only shines behind the camera, but he also delivers another great performance as Adonis. At this point, it feels like Adonis is a part of Jordan and vice versa. It’s his character, and he can continue playing it for as long as he’d like. He’s grown well past the days of being in Apollo Creed’s shadow. It also helps that he and Thompson may be the most believable on-screen couple in a franchise out there, and his moments with the young Davis-Kent are adorable. Maybe continuing to let Davis-Kent grow between installments while increasing her role can keep the franchise fresh if they wish to continue it. 

I’ll be honest — I was skeptical about Creed III not featuring Rocky. I get that you eventually have to move on, but how could a film in this franchise go without mentioning him? Well, Creed III found a way. Outside of one blink-or-you’ll-miss-it reference, I don’t believe that Rocky is ever shown or mentioned. It’s a bold choice, but one that Jordan pulls off because of how the story was written and how it stands on its own. There’s really no room for Rocky unless you wanted him to serve the role of Adonis’ conscience, but it may have been better off to actually keep this story small and personal and allow the viewer to see the Creed franchise fully become its own thing. You know how Spider-Man finally becomes Spider-Man at the end of No Way Home once everything he knew is taken away from him and he’s without all of the webs attached to the MCU? It’s a similar thing in Creed III

It’s been said many times before, but I have to say it again — 2023 is Jonathan Majors’ year. Yes, he was the best part of the abysmal Ant-Man and the Wasp: Quantumania, but his performance as Dame is on another level. He’s chiseled like a Greek god, making you actually fear him whenever he faces off with Adonis, and Majors gives an uneasy, but equally animalistic performance that truly cements his place as one of the elite stars in Hollywood. You, like Adonis, feel obligated to help him and want to give him the benefit of the doubt. But like we’ve seen in countless other stories similar to this, that rarely works and it stings when Dame betrays his friend. This is the Majors antagonist that I’d actually want to see in a number of installments of a franchise. There are layers to his story — more than any other villain in this franchise — and he’s more than just a part of the bloodline of one of Rocky or Apollo’s past opponents.

A still from Creed III. Photo courtesy of MGM.

The film does Majors dirty in one area, however. Once Dame does his “heel turn,” he sort of pulls a Brock Lesnar and goes part-time for the rest of the film. He supposedly goads Adonis out of retirement, but we don’t really see any torment in the media. Unless I fell asleep for a crucial 10 minutes, Dame just falls into the shadows and apparently trash-talks Adonis’ family, career and manhood. It’s a totally plausible thing for the viewer to believe, but it would’ve been nice to see it rather than having one confrontation at the beach and then Adonis going on national television to call him out 10 minutes later. In no way am I attempting to say that any of the Rocky or previous Creed films had sophisticated plots, but this was so sudden, and while I appreciate a breezy two-hour film, a little bit more from Majors would’ve really driven all of the emotional intensity home. 

It’s unlikely that any film can ever recreat the total package that was the original Rocky — It was the quintessential underdog story both in terms of its behind-the-scenes stories and on-screen hero — but the franchise that began with Sylvester Stallone running up the steps of the Philadelphia Museum of Art has now spun off into one of the best running franchises. It’s just so polished and has real stakes. Jordan’s directorial debut only adds more juice to this franchise after a so-so middle installment, and while it seemed like the franchise was destined to keep finding a new suitor to take the directors’ chair each film, I think they found their guy. Whether this is the final time that Adonis Creed throws a punch or not, Creed III is the perfect end to this trilogy and the second-best film in the entire franchise. Selfishly, I’d love to keep revisiting Adonis every four or five years, but sometimes it’s better to leave when people want more than when they’re begging you to stop (just see Rocky V).


Creed III will be released in theaters on March 3. 

FILM RATING

Andrew is an entertainment journalist and film "critic" who has written for the likes of Above the Line, Below the Line, Collider, Film Focus Online, /Film and The Hollywood Handle among others. Leader of the Kaitlyn Dever Fanclub.

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Sung Kang’s ‘Shaky Shivers’ is a Campy Horror-Comedy With Superb Performances

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Brooke Markham and VyVy Nguyen in 'Shaky Shivers' (Cineverse)

If you thought that Sung Kang can only thrill you with amazing car stunts, then you are wrong. The acclaimed star is set to take you on an entertaining ride with his directorial debut titled ‘Shaky Shivers’.

The latest horror-comedy film marks the feature directorial debut of Sung Kang, renowned for his roles in the ‘Fast & Furious’ franchise and several other big projects. The movie stars Brooke Markham and VyVy Nguyen, with an ensemble cast including Jimmy Bellinger, Erin Daniels, and Herschel Sparber.

A still from ‘Shaky Shivers’ (Cineverse)

From the very beginning, ‘Shaky Shivers’ grabs hold of your attention with the comedic chemistry between lead actresses Brooke Markham (Lucy) and VyVy Nguyen (Karen). Their hilarious banter and dynamic friendship draw you into their world of magic, mayhem, and monstrous encounters. While a few other characters make appearances, the heart of the film rests on the shoulders of Karen and Lucy, whose relatable and believable friendship makes the story even more bewitching.

One of the best aspects of the film is how Sung Kang skillfully directs the title despite limited cast and limited settings. It still manages to keep audiences engaged and entertained. Kang also pays homage to classic horror films like ‘American Werewolf in London’ and injects fresh energy into the scenes while showcasing his comedic flair.

A still from ‘Shaky Shivers’ (Cineverse)

If you are one of those who enjoy unapologetically goofy and fun movies, ‘Shaky Shivers’ is undoubtedly a fun watch. Embracing its campiness, the film doesn’t try to be anything other than an enjoyable ride filled with supernatural elements. The characters have a helpful book of spells that they use to solve problems, which adds a clever and funny element to the story that will make you laugh..

While categorized as a horror-comedy, ‘Shaky Shivers’ leans more towards comedy than horror. However, don’t worry, as the supernatural beings like werewolves, zombies, and witches make their presence known throughout. The practical effects and impressive monster makeup, reminiscent of old-school horror flicks from the 70s and 80s, immerse you in a world of creatures and enchantment.

A still from ‘Shaky Shivers’ (Cineverse)

The plot of ‘Shaky Shivers’ escalates in an exciting and compelling manner, filled with unpredictable twists and goofy surprises.  While it may not leave you terrified, the perfect blend of supernatural ambiance and comedic moments guarantees plenty of laughter and enjoyment.

In conclusion, ‘Shaky Shivers’ is a must-watch horror-comedy that delivers on laughs, friendship, and supernatural encounters. With its engaging storyline, talented cast, and Sung Kang’s impressive directorial debut, the film is a delightful addition to the genre. So grab a large tub of popcorn and take your family for this fun-filled ride.

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Sex Education Season 4 is a Spectacular (and Overstuffed) Conclusion to One of Netflix’s Extraordinary Series

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Official posted of 'Sex Education' Season 4 (Netflix)

When the first season of Sex Education came out on Netflix in 2019, it felt pretty daring and exciting for everyone. While there were many shows about teenagers and sex, ‘Sex Education’ stood out because it talked about these topics openly and covered them in a pretty detailed manner. Without any guesses, the show became really popular and is now considered a classic on Netflix. For 3 long seasons, viewers have seen students of Moordale, and everyone around them, dealing with a lot of complications, but now, it’s time to say goodbye to some of our character as the Netflix series has returned for its fourth and final edition.

At the end of Season 3, Moordale Secondary School closed down. This means that Otis, Eric, Aimee, Jackson, Vivienne, Cal, and Ruby have to go to a new school, Cavendish Sixth Form College. Some of them fit in well, while others struggle. And while Otis tries to focus on his therapy work, he finds out that there are other young people who are experts on relationships and sex in town.

Gillian Anderson as Jean Milburn in ‘Sex Education’ Season 4 (Netflix)

One of the strengths of Sex Education is its diverse and inclusive representation. The show shines a light on various sexual orientations, gender identities, and cultural backgrounds, providing a platform for underrepresented voices. Season 4 continues to explore these themes, introducing new characters who add depth and complexity to the narrative. On ghe other hand, the only problem with Season 4 is that there are too many things going on at once. There are so many sub-plots that might distract you at times and make you feel that this story might have looked good if there was another season in pipeline.

Even then, the writing remains sharp and witty, creating relatable and genuine teenage characters who grapple with their own insecurities and desires.

Ncuti Gatwa as Eric Effiong in Sex Education Season 4 (Netflix)

The performances in ‘Sex Education’ Season 4 are consistently strong. Asa Butterfield brings vulnerability and charm to his role as Otis, portraying the character’s growth and maturity. Ncuti Gatwa shines as Eric, capturing both his strength and vulnerability as he navigates new relationships and personal challenges. Emma Mackey delivers a nuanced performance as Maeve, showcasing her character’s intelligence and emotional depth. Mimi Keene is stupendous as well and bring another layer to her character which was so nice to see. Meanwhile, Gillian Anderson does what she is best at: deliver another extraordinary performance.

Emma Mackey as Maeve in Sex Education Season 4. (Netflix)

On the other hand, Aimee Lou Wood continues to mesmerise us with her charm and simplicity. Directors should definitely look at her and give her a leading role soon because she deserves it. Another actor that is surely a star in the making is Anthony Lexa, who portrays Abbi in Season 4. Her performance adds an additional charm to the series and gives a hope to Trans actors that they can too achieve their dreams.

A still from ‘Sex Education’ Season 4 (Netflix)

The final edition tackles difficult topics with sensitivity and care, highlighting the importance of consent, communication, and understanding in relationships. The show’s ability to tackle these issues head-on without becoming preachy is a testament to its thoughtful storytelling.

While the final season of ‘Sex Education’ does have some pacing and narrative issues, the strength of the performances, the thoughtful exploration of important issues, and the show’s commitment to inclusivity make it a satisfying and engaging watch. It’s bittersweet to say goodbye to these beloved characters, but the legacy of Sex Education will undoubtedly leave a lasting impact on the television landscape.

Sex Education Season 4. (L to R) Mimi Keene as Ruby, Asa Butterfield as Otis in Sex Education Season 4 (Netflix)

In conclusion, ‘Sex Education’ Season 4 continues to deliver a standout and boundary-pushing narrative that explores sexuality, identity, and personal growth with humor and sensitivity. Despite some minor flaws, the show remains a shining example of inclusive storytelling and offers a heartfelt farewell to its beloved characters.

Some goodbyes are hard and this is certainly one of them.

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Flora and Son is a Heartfelt Exploration of Family and Music

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Eve Hewson and Oren Kinlan in a still from 'Flora and Son' (Apple TV+)

Flora and Son, directed by John Carney, tells the compelling story of Flora, a single mother struggling to navigate the challenges of parenthood and find her own identity. Starring Eve Hewson as Flora, the film dives into the complexities of motherhood, relationships, and the power of music in bringing people together. There have been a lot of musicals in recent times that take a very complex route in telling a story, but Flora and Son is a bit different than all of them. The story is really simple and that’s what makes the film such a treat to watch.

The movie opens with Flora enjoying a night out at a club in Dublin, only to end up in a disappointing hook-up. Flora’s life is far from perfect, as she grapples with her troubled teenage son Max (Orén Kinlan) and a less-than-supportive ex-husband, Ian (Jack Reynor). Flora’s interactions with Max are often tense, filled with sarcastic banter and strained attempts to connect with him. As a single mother, Flora faces numerous hardships and setbacks, leading her to doubt her own potential. Her attempts to do right by her son are often met with indifference or resistance. However, a pivotal moment occurs when Flora acquires a guitar for Max, unaware that it will have a profound impact on her own journey. Flora’s decision to learn to play the guitar leads her to Jeff (Joseph Gordon-Levitt), a songwriter and teacher based in California. Despite the distance between them, their connection is palpable, and through music, they bridge the gap. Jeff encourages Flora to embrace her creativity and express herself authentically, unlocking a passion she didn’t know she possessed.

Eve Hewson in a still from ‘Flora and Son’ (Apple TV+)

The performances in Flora and Son are exceptional, particularly Eve Hewson’s portrayal of Flora. She effortlessly portrays a range of emotions, from humor and charm to vulnerability and raw emotion. Hewson’s nuanced performance brings depth and authenticity to the character, making her relatable and captivating. It will be a travesty if she is not spotted by a big filmmaker and gives her a chance to lead another extraordinary movie. On the other hand, Joseph Gordon-Levitt is soulful and gives a performance that is really enchanting. The chemistry between Hewson and Gordon-Levitt, even through virtual interactions, adds an extra layer of depth to their characters’ connection.

Carney’s direction creates an intimate yet heartfelt atmosphere in the film.  The use of music as a driving force in the narrative is a testament to Carney’s storytelling prowess, showcasing the transformative power of melodies and lyrics. One of the film’s strengths is its refusal to tie everything up neatly in a predictable manner. Instead, Flora and Son choose a more realistic approach, leaving some loose ends and logistics unresolved. This choice allows the characters to continue their journey of self-discovery, leaving viewers with a sense of hope and possibility.

Eve Hewson and Joseph Gordon-Levitt in a still from ‘Flora and Son’ (Apple TV+)

In conclusion, Flora and Son is a touching exploration of a single mother’s journey to find her voice, both as a musician and as a parent. With exceptional performances and a thoughtful narrative, the film resonates with authenticity and emotional depth. Carney’s direction and the film’s emphasis on the transformative power of music make Flora and Son a standout family drama. The simplicity and innocence is what makes it such a heart-warming watch. This film will make your heart sing.

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