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Ryan CooglerKamera:
Maryse AlbertiMusik:
Ludwig GöranssonBesetzung:
Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Mauricio Ovalle, Ritchie Coster, Wood Harris, Mark Falvo, Phylicia Rashad, Andre Ward (mehr)Streaming (5)
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Adonis Johnson (Jordan) hat seinen Vater, den Schwergewicht-Weltmeister Apollo Creed, nie kennengelernt, denn der starb bereits vor Adonis' Geburt. Aber dass ihm das Boxen im Blut liegt, daran besteht kein Zweifel – also macht sich Adonis auf nach Philadelphia, wo Apollo Creed einst seinen berühmten Kampf gegen den zähen Nachwuchsboxer namens Rocky Balboa bestritt. In der Stadt der Bruderliebe sucht Adonis Rocky (Stallone) auf und bittet ihn, sein Trainer zu werden. Rocky lehnt das entschieden ab, weil er mit dem Kampfsport nichts mehr zu tun haben will. Er erkennt allerdings sofort, dass Adonis jene Kraft und Entschlossenheit geerbt hat, für die Apollo bekannt war – aus der erbitterten Rivalität zwischen Apollo und Rocky entstand später eine enge Freundschaft. Rocky gibt also nach und beginnt den jungen Fighter zu trainieren, obwohl er selbst derzeit einen gefährlicheren Gegner konfrontieren muss, als ihm im Ring jemals begegnet ist. Seit Adonis von Rocky betreut wird, ist es nur noch eine Frage der Zeit, bis er eine Chance auf den Titelkampf bekommt ... doch wird es ihm gelingen, nicht nur die Dynamik, sondern auch das Herz eines echten Kämpfers zu entwickeln, bevor er in den Ring steigt? (Warner Bros. DE)
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Ryan Coogler ist ein begabtes Kind. Man möchte sich über seine knisternde Naivität ja kaum ärgern, wenn man sieht, auf wie viel Geschick es (inbesondere) des Kameramanns alles beruht, doch Tatsache ist, dass Creed eher eine ungewollte infantile Komödie als ein Boxdrama ist. Die größte Hoffnung auf Emanzipation erweckt der Streifen, als die Hauptfigur ca. in der Mitte mit einem One-Take-Fight daherkommt, wobei die Pilgerreise anstelle mit dem Auffinden eines eigenen Vermächtnisses mit einem mühsamen Retro endet, wo Vaters Shorts angezogen werden. Sly stellt den einzigen Anker dar, ansonsten verfällt das alles, was Coogler betrifft, in eine mühsame Erzählung sowie eine puppenartige Hauptfigur, die schreien muss, um "ein Drama zu schaffen". Vielleicht das nächste Mal, yo.
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The essence of the best of the old films: the precisely dosed drops of nostalgia and at the same time a fully adaptable product of our time, that is, to the parameters we want and expect from a film today, that's exactly what Creed is. This is what I expected from Star Wars and didn't get. I expected nothing from Creed and got basically everything. Peaking emotions and sympathy for the main characters, especially Stallone, who has changed. He has become a sensitive actor, full of charisma and life experience, who can impress not only with a machine gun in his hand, but surprisingly agile and brilliant even in intimate scenes, where he uses in the most distinctive way those wise words that we all know, but not everyone wants to hear. For hardcore fans of the original series and for movie nostalgics, it will be great, because it has that cold winter street feel (the iconic last scene) of the original episodes and fortunately it's not as modern as the last Rocky. It's a must-see experience, just like the first one.
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I love these films and they rarely disappoint me. The story is a classic fairy tale but unfortunately without emotions, so Southpaw won in this respect. Michael B. Jordan is likable, Sylvester Stallone is friendly and the one-shot fights almost without editing are breathtaking, too bad there were only two of them, but they were decently long and adrenaline-pumping. I wasn't bored. 75%.
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I stand by my opinion that this series should have definitely ended ten years ago with the nostalgic "six", which managed to build on the formal and, above all, emotional tuning of the first four films with the help of old and familiar characters. Creed, unfortunately, doesn’t manage that. The story is not bad, on the contrary, it nicely brings together two boxing generations in the world of its famous plot marker and delights with its existential layers, which put the ring and the fight in the shadow of personal life and the excellently sketched relationship between Creed Jr. and the (now definitely) ageing Italian stallion. Yet, I see it as nothing more than a superfluous variation on a disgustingly stale story scheme that doesn't surprise with anything, and isn't saved either by the through-and-through mediocre directorial touch or the lovingly beating heart of Rocky Balboa, which makes us love and respect the whole franchise so much. As a motivational song about the willpower of an underdog, the first one was far more effective and moving; as a riveting, straightforward drama about a quest for satisfaction against a seemingly invincible foe, the fourth one was more emotional and physically more palpable. Creed probably wants to be both, but it succeeds on a completely different, more subtle front – behind closed doors, during the interactions between two characters that are really the only thing that has the power to save this film from the dust of oblivion. And thanks for that at least...
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With the arrival of Creed, Rocky Balboa bid us farewell in quite dignified way. The movie did not come with anything new, so the only thing left is the endless moralizing of Sylvester Stallone, which I more or less enjoy, or the acting of Michael B. Jordan, which is something you have to get used to. He, as the child of the street, did not at first arouse too many emotions in me. Only Stallone’s upbringing made him somehow pleasant. However, simply by describing it, the pathos makes me sick. The story could not get more typical. Big fans will be probably satisfied with Creed and will nostalgically shed a tear. Rocky Balboa is enough for me, as it was able to make an original movie out of nostalgia, and I did not have to call it what I call this movie. Unlike the previous one, this movie is a completely routine job.
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