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Lee (2222 KP) rated Creed II (2018) in Movies
Dec 1, 2018
An Outstanding Sequel
The first Creed movie breathed fresh life into the tired Rocky franchise, introducing Michael B Jordan as the son of Apollo Creed and having Rocky Balboa mentor him through to becoming a professional boxer. All the familiar key elements were there from previous Rocky movies - the training montages, the love interest, the opponent you can't wait to see defeated. But this new take on it all worked well, resulting in a hugely enjoyable movie, and a sequel was inevitable.
With Creed 2, we get even more ties to the Rocky movies. In a bleak looking Ukraine, Ivan Drago lives with son Viktor. In Rocky IV, Ivan was the man responsible for killing Apollo Creed in a boxing match, before suffering defeat at the hands of Rocky in his hometown of Russia in the epic finale. In terms of cinematic experiences, Rocky IV was the absolute peak of the franchise. So intense, drawing unified cheers and applause from the audience I was watching it with, something you don't very often get in the cinema.
That defeat in mother Russia brought shame on Ivan and he and Viktor now live a simple life, with Viktor being trained daily by Ivan and participating in small local boxing matches, pummeling his opponents and drawing the attention of an American boxing promoter. When Adonis Creed wins the heavyweight title over in America, you can almost see the dollar signs flashing in the promoters eyes, and bringing these two together to settle old scores forms the basis of the rest of the movie.
Those familiar plot beats I described earlier, they're all here again, but that's not to say that they're any less enjoyable than when we've seen them before. At times they're even more exciting, with the added intensity coming from knowing that this is a fight that's been over 30 years in the making.
Despite the traditional halfway lull, with our hero experiencing a period of doubt and self reflection, this is once again another intense and uplifting movie. Brilliant.
With Creed 2, we get even more ties to the Rocky movies. In a bleak looking Ukraine, Ivan Drago lives with son Viktor. In Rocky IV, Ivan was the man responsible for killing Apollo Creed in a boxing match, before suffering defeat at the hands of Rocky in his hometown of Russia in the epic finale. In terms of cinematic experiences, Rocky IV was the absolute peak of the franchise. So intense, drawing unified cheers and applause from the audience I was watching it with, something you don't very often get in the cinema.
That defeat in mother Russia brought shame on Ivan and he and Viktor now live a simple life, with Viktor being trained daily by Ivan and participating in small local boxing matches, pummeling his opponents and drawing the attention of an American boxing promoter. When Adonis Creed wins the heavyweight title over in America, you can almost see the dollar signs flashing in the promoters eyes, and bringing these two together to settle old scores forms the basis of the rest of the movie.
Those familiar plot beats I described earlier, they're all here again, but that's not to say that they're any less enjoyable than when we've seen them before. At times they're even more exciting, with the added intensity coming from knowing that this is a fight that's been over 30 years in the making.
Despite the traditional halfway lull, with our hero experiencing a period of doubt and self reflection, this is once again another intense and uplifting movie. Brilliant.
Andy K (10821 KP) rated Creed II (2018) in Movies
Jun 23, 2019
Dripping with nostalgia
Creed finally becomes WBC champion. Now a new challenge is forthcoming. The son of the man who killed his father has become a boxer as well and wants to take on Creed. His father's loss to Rocky sent his father down a downward spiral losing face with the State and having his mother leave him so he is out for revenge.
Creed has to again wrestle with his own emotions about the death of his famous father and also still wanting to get out of his shadow and strike his own course.
After the initial brawl ends in controversy, Creed is beaten physically and emotionally. He becomes engaged and also finds out he is going to have a child which changes his perspective on life and helps him try and flush out what is important to him.
His pal Rocky is torn as to stay with Creed as this brings out old memories for him as well and also the desire to maybe reconnect with his estranged son. He doesn't want Creed to fight for the wrong reasons.
Michael B Jordan really comes into his own in this film and displays not only intense physical prowess, but emotional range and muscles as well.
The film hits all the usual notes you have seen countless times in the Rocky/Creed franchise. If you have been a lifelong fan or coming to the film just during the Creed portion, the nostalgia of seeing Dolph Lundgren (who couldn't act his way out of a paper bag) and Rocky in the ring together again this time alongside their proteges in the ring is exciting and worth the reteam.
The boxing scenes are very well done; however, so are the slower emotional scenes which is really what the film is about. The relationships and bonds we all need and search for our entire lives.
Well worth it.
Creed has to again wrestle with his own emotions about the death of his famous father and also still wanting to get out of his shadow and strike his own course.
After the initial brawl ends in controversy, Creed is beaten physically and emotionally. He becomes engaged and also finds out he is going to have a child which changes his perspective on life and helps him try and flush out what is important to him.
His pal Rocky is torn as to stay with Creed as this brings out old memories for him as well and also the desire to maybe reconnect with his estranged son. He doesn't want Creed to fight for the wrong reasons.
Michael B Jordan really comes into his own in this film and displays not only intense physical prowess, but emotional range and muscles as well.
The film hits all the usual notes you have seen countless times in the Rocky/Creed franchise. If you have been a lifelong fan or coming to the film just during the Creed portion, the nostalgia of seeing Dolph Lundgren (who couldn't act his way out of a paper bag) and Rocky in the ring together again this time alongside their proteges in the ring is exciting and worth the reteam.
The boxing scenes are very well done; however, so are the slower emotional scenes which is really what the film is about. The relationships and bonds we all need and search for our entire lives.
Well worth it.
Bob Mann (459 KP) rated Black Panther (2018) in Movies
Sep 29, 2021
Black Ops.
There was a joke on the internet the other day that made me laugh and laugh. Virtually the only white people in “Black Panther” are the Hobbit/LOTR stars Martin Freeman and Andy Serkis…. they are the Tolkein white guys! It’s actually getting to feel quite isolating as an ‘average white guy’ at the movies! After a plethora of #SheDo films about empowered women, now comes the first black-centred Marvel film… stuffed full of powerful women too!
The setting is the hidden African kingdom of Wakanda, where due to an abundance of a an all-powerful mineral called McGuffinite… so, sorry, Vibranium… the leaders have made their city a technological marvel and developed all sorts of ad tech to help the people keep their goats well and weave their baskets better (there are a few odd scenes in this film!). T’Challa (Chadwick Boseman) succeeds his father T’Chaka (John Kani) to become the king and adopt the role of The Black Panther, being bestowed superhero powers by drinking a glass of Ribena.
But it emerges that T’Chaka has a dark secret in the form of Eric Killmonger (Michael B Jordan, “Creed“) who is determined to muscle in on the king-stuff. ‘It never rains but it pours’, and the whole of Wakanda’s secrets are in danger of being exposed by the antics of the vicious South African mercenary Ulysses Klaue (Andy Serkis, “War For The Planet Of The Apes“), trying to get his hands on vibranium to sell on to CIA operative Everett Ross (Martin Freeman, “The Hobbit: The Battle of the Five Armies“, “The World’s End“).
After “Thor: Ragnarok“, this is back to the more seriously-played end of the superhero spectrum: there are a few jokes but it’s not overtly played for comedy. Holding the film together are some sterling performances from the ensemble cast with Michael B Jordan very good as the villain of the piece. Adding to the significant black girl power in the film are Angela Bassett (“London Has Fallen“) as the queen mother; Danai Gurira (“Wonder Woman“) as the leader of the Dora Milaje: the all-female king’s guard; and Lupita Nyong’o (“12 Years a Slave“, “Star Wars: The Force Awakens“) as the spy and love interest Nakia. But the star performance for me, and one I found absolutely spot-on as a role model for young people, was Letitia Wright (“The Commuter“) as Shuri, the king’s chief scientist. She is absolutely radiant, adding beauty, rude gestures and energy to every scene she is in.
Man of the moment Daniel Kaluuya (“Get Out“) also adds to his movie-cred as a conflicted courtier.
On the white side of the shop Andy Serkis has enormous fun as Klaue and I really wanted to see more of his character than I did. Martin Freeman feels rather lightweight and under-used, and I couldn’t quite get past his dodgy American accent.
In terms of storyline, the film is a hotch-potch of plots from multiple other films, with “The Lion King” featuring strongly (but almost in reverse!). But that’s no crime, when the Shakespearean-style narrative is good, and interpolating the strongly emotional story into the Marvel universe works well.
Where I felt a little uncomfortable is the element of racism – that is, racism *against* white people – reflected in the story. If there was a movie plot centred (basically) on the topic of whites killing blacks and taking control of every black-controlled country in the world (yes, I know, I’m British and we have historically been there!) then there would be justified uproar, and the film would be shunned.
In the technical department, I had real problems with some of the effects employed. Starting with a dodgy ‘aircraft’ shadow, things nose-dive with an astonishingly poor waterfall scene with Forest Whitaker (“Rogue One“, “Arrival“) as Zuri, green-screened against some Disneyworld cascades and hundreds of cut and pasted tribesmen randomly inserted onto the cliffs. Almost matching that is a studio-set scene in a jungle clearing, where if feels they could hardly have bothered to take the plants out of their pots. Think “Daktari” quality (kids, ask your parents/grandparents).
But overall, the film, directed by Ryan Coogler (“Creed“), is a high-energy and uniquely different take on Marvel that absolutely pays off. And it is without doubt an important movie in moving the black agenda forward into properly mainstream cinema.
The setting is the hidden African kingdom of Wakanda, where due to an abundance of a an all-powerful mineral called McGuffinite… so, sorry, Vibranium… the leaders have made their city a technological marvel and developed all sorts of ad tech to help the people keep their goats well and weave their baskets better (there are a few odd scenes in this film!). T’Challa (Chadwick Boseman) succeeds his father T’Chaka (John Kani) to become the king and adopt the role of The Black Panther, being bestowed superhero powers by drinking a glass of Ribena.
But it emerges that T’Chaka has a dark secret in the form of Eric Killmonger (Michael B Jordan, “Creed“) who is determined to muscle in on the king-stuff. ‘It never rains but it pours’, and the whole of Wakanda’s secrets are in danger of being exposed by the antics of the vicious South African mercenary Ulysses Klaue (Andy Serkis, “War For The Planet Of The Apes“), trying to get his hands on vibranium to sell on to CIA operative Everett Ross (Martin Freeman, “The Hobbit: The Battle of the Five Armies“, “The World’s End“).
After “Thor: Ragnarok“, this is back to the more seriously-played end of the superhero spectrum: there are a few jokes but it’s not overtly played for comedy. Holding the film together are some sterling performances from the ensemble cast with Michael B Jordan very good as the villain of the piece. Adding to the significant black girl power in the film are Angela Bassett (“London Has Fallen“) as the queen mother; Danai Gurira (“Wonder Woman“) as the leader of the Dora Milaje: the all-female king’s guard; and Lupita Nyong’o (“12 Years a Slave“, “Star Wars: The Force Awakens“) as the spy and love interest Nakia. But the star performance for me, and one I found absolutely spot-on as a role model for young people, was Letitia Wright (“The Commuter“) as Shuri, the king’s chief scientist. She is absolutely radiant, adding beauty, rude gestures and energy to every scene she is in.
Man of the moment Daniel Kaluuya (“Get Out“) also adds to his movie-cred as a conflicted courtier.
On the white side of the shop Andy Serkis has enormous fun as Klaue and I really wanted to see more of his character than I did. Martin Freeman feels rather lightweight and under-used, and I couldn’t quite get past his dodgy American accent.
In terms of storyline, the film is a hotch-potch of plots from multiple other films, with “The Lion King” featuring strongly (but almost in reverse!). But that’s no crime, when the Shakespearean-style narrative is good, and interpolating the strongly emotional story into the Marvel universe works well.
Where I felt a little uncomfortable is the element of racism – that is, racism *against* white people – reflected in the story. If there was a movie plot centred (basically) on the topic of whites killing blacks and taking control of every black-controlled country in the world (yes, I know, I’m British and we have historically been there!) then there would be justified uproar, and the film would be shunned.
In the technical department, I had real problems with some of the effects employed. Starting with a dodgy ‘aircraft’ shadow, things nose-dive with an astonishingly poor waterfall scene with Forest Whitaker (“Rogue One“, “Arrival“) as Zuri, green-screened against some Disneyworld cascades and hundreds of cut and pasted tribesmen randomly inserted onto the cliffs. Almost matching that is a studio-set scene in a jungle clearing, where if feels they could hardly have bothered to take the plants out of their pots. Think “Daktari” quality (kids, ask your parents/grandparents).
But overall, the film, directed by Ryan Coogler (“Creed“), is a high-energy and uniquely different take on Marvel that absolutely pays off. And it is without doubt an important movie in moving the black agenda forward into properly mainstream cinema.
BankofMarquis (1832 KP) rated Black Panther (2018) in Movies
Feb 19, 2018
Inwardly focused SuperHero film mostly works.
THE BLACK PANTHER is the first entry in the Marvel Cinematic Universe that relies - predominantly - on characters (and actors) of color to carry it. Of the main characters, only 2 are Caucasian, the rest of the cast (including almost all of the supporting cast and the extras) - AND the Director are people of color. This has, rightfully so, created a "buzz" about the significance of this. It is a watershed moment for SuperHero films (much like last year's WONDER WOMAN was a watershed for a female led SuperHero film). But the question remains - is it a good film?
The answer: Good Enough.
Diving deeper into the character/hero T'Challa/Black Panther (Chadwick Boseman) who was first introduced in CAPTAIN AMERICA: CIVIL WAR. In this film, we learn more about the backstory of this man/character as well as the world in which he lives and the burdens he bears. It also, interestingly enough, pretty much ignores the rest of the Marvel Cinematic Universe for much of it's 2 hour 14 minute timeline. It mostly concerns itself with interior issues in the hidden kingdom of Wakanda and I think this tactic is a welcome relief from the giant, CGI-laden, characters-heavy Marvel films of recent memory.
Director/Writer Ryan Coogler (CREED/FRUITVALE STATION) decides to focus the attention of this film inward, rather than outward and we are rewarded with a rich, Shakespearean family drama that works because of it's simplicity.
Much of the effectiveness is due to the charismatic cast that has been drawn to this picture because of the significance of it as well as the richness of the characters they inhabit. Bozeman is regal and strong in the title role - no hint of the suffering, "I don't want this" SuperHero angst so often seen in these types of film. Academy Award winner Lupito Nyong'o joins in just as strong and independently as Nakia a "Spy" and erstwhile romantic foil for T'Challa - though Coogler is wise to avoid the "will they/won't they" cliche as well as eliminates, entirely, the "damsel in distress" subplot that would have been so tempting.
Helping these two out are a veritable "who's who" of actors of color - Angela Bassett, Forrest Whitaker, current Best Actor nominee Daniel Kaluuya and Sterling K. Brown - all turn out for fun (albeit brief) turns where each one of them gets a chance to show what they can do. Special notice should be made to Danai Gurira (TV's kick-ass Michonne in THE WALKING DEAD) as Okoye - T'Challa's chief general and bodyguard who must choose duty over honor (or does she) and, especially, Letitia Wright as T'Challa's younger, wise-cracking sister - who also happens to be the "Q" of this film. She jumped off the screen and shone brightly (but not so bright as to wash things out) in every scene she was in.
And...of course...there is Coogler favorite Michael B. Jordan (he's been in all of Coogler's major motion picture) as the villain of the piece - Erik Killmonger (the name says it all). Jordan does a nice job of bringing 3 dimensions to a character that was written a little too 2 dimension-ally, if you ask me. This character could have just been an "angry young man" cliche, but with Jordan, he becomes something much, much more.
This being a Marvel SuperHero film, the Special Effects are terrific, showing a highly secretive, highly technolized Wakanda that is hidden beneath the surface.
Is it a perfect film? Well...no. This is, in essence, a "family drama" with some hi-tech action scenes and the obligatory "two armies fighting" finale, and while the acting is good enough to hold interest throughout, I would have liked to have seen a little more action thrown in.
But...ignoring the rest of the Marvel Cinematic Universe was a good move - as was casting such strong, believable and likeable film actors.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
The answer: Good Enough.
Diving deeper into the character/hero T'Challa/Black Panther (Chadwick Boseman) who was first introduced in CAPTAIN AMERICA: CIVIL WAR. In this film, we learn more about the backstory of this man/character as well as the world in which he lives and the burdens he bears. It also, interestingly enough, pretty much ignores the rest of the Marvel Cinematic Universe for much of it's 2 hour 14 minute timeline. It mostly concerns itself with interior issues in the hidden kingdom of Wakanda and I think this tactic is a welcome relief from the giant, CGI-laden, characters-heavy Marvel films of recent memory.
Director/Writer Ryan Coogler (CREED/FRUITVALE STATION) decides to focus the attention of this film inward, rather than outward and we are rewarded with a rich, Shakespearean family drama that works because of it's simplicity.
Much of the effectiveness is due to the charismatic cast that has been drawn to this picture because of the significance of it as well as the richness of the characters they inhabit. Bozeman is regal and strong in the title role - no hint of the suffering, "I don't want this" SuperHero angst so often seen in these types of film. Academy Award winner Lupito Nyong'o joins in just as strong and independently as Nakia a "Spy" and erstwhile romantic foil for T'Challa - though Coogler is wise to avoid the "will they/won't they" cliche as well as eliminates, entirely, the "damsel in distress" subplot that would have been so tempting.
Helping these two out are a veritable "who's who" of actors of color - Angela Bassett, Forrest Whitaker, current Best Actor nominee Daniel Kaluuya and Sterling K. Brown - all turn out for fun (albeit brief) turns where each one of them gets a chance to show what they can do. Special notice should be made to Danai Gurira (TV's kick-ass Michonne in THE WALKING DEAD) as Okoye - T'Challa's chief general and bodyguard who must choose duty over honor (or does she) and, especially, Letitia Wright as T'Challa's younger, wise-cracking sister - who also happens to be the "Q" of this film. She jumped off the screen and shone brightly (but not so bright as to wash things out) in every scene she was in.
And...of course...there is Coogler favorite Michael B. Jordan (he's been in all of Coogler's major motion picture) as the villain of the piece - Erik Killmonger (the name says it all). Jordan does a nice job of bringing 3 dimensions to a character that was written a little too 2 dimension-ally, if you ask me. This character could have just been an "angry young man" cliche, but with Jordan, he becomes something much, much more.
This being a Marvel SuperHero film, the Special Effects are terrific, showing a highly secretive, highly technolized Wakanda that is hidden beneath the surface.
Is it a perfect film? Well...no. This is, in essence, a "family drama" with some hi-tech action scenes and the obligatory "two armies fighting" finale, and while the acting is good enough to hold interest throughout, I would have liked to have seen a little more action thrown in.
But...ignoring the rest of the Marvel Cinematic Universe was a good move - as was casting such strong, believable and likeable film actors.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (965 KP) rated Black Panther (2018) in Movies
Jun 19, 2019
The latest film in the Marvel Universe has arrived with “Black Panther” and it continues the tradition of big budgeted event films from Marvel. The film follows T’Challa (Chadwick Bodeman), as he prepares to assume the throne of the country of Wakanda after the death of his father. He is destined to lead over a nation that to the outside world seems impoverished and rural, but is secretly a very technologically advanced society thanks to their Vibranium resources. The resources allow them to keep their capitol city hidden from the world.
As T’Challa attempts to assume the throne and rule over the various tribes of his country; a threat from his past both known and unknown arises. Ulysses Klaue (Andy Serkis) surfaces, T’Challa mounts and effort to bring him to justice which in turn sets a chain of events into motion. A mysterious and deadly figure known as Killmonger (Michael B. Jordan), plans to obtain the Vibranium to exact a plan of revenge so severe it will lead to the nations of the world being subjugated and will divide even the most loyal citizens of Wakanda.
T’Challa must use his powers as The Black Panther and guardian of Wakanda to save his people and the very world from a threat that holds the fate of the world in the balance.
The film takes a while to get going as Director/Co-Writer Ryan Coogler takes his time introducing audiences to the world of Black Panther and especially the various characters. The strong supporting cast features Lupita Nyong’o, Angela Bassett, Danai Gurira, Forest Whitaker, Martin Freeman, and so many others that it is great to see such well-rounded characters.
The film does take a while to get up to the action but when it arrives; it delivers making the wait worth it. What I really liked was that the characters were well-defined as were their motivations. You did not have some cartoon mega-villain with some insane scheme, but rather a realistic and believable threat whose motivations were understandable though misguided.
Marvel has again delivered a very thrilling story that fits well into their extended universe and you will want to make sure to stay through all the credits for the two additional scenes which sets up future events for the Marvel Universe. “Black Panther” is a rousing success all around continues Marvel’s Cinematic Universe in grand style.
http://sknr.net/2018/02/13/black-panther/
As T’Challa attempts to assume the throne and rule over the various tribes of his country; a threat from his past both known and unknown arises. Ulysses Klaue (Andy Serkis) surfaces, T’Challa mounts and effort to bring him to justice which in turn sets a chain of events into motion. A mysterious and deadly figure known as Killmonger (Michael B. Jordan), plans to obtain the Vibranium to exact a plan of revenge so severe it will lead to the nations of the world being subjugated and will divide even the most loyal citizens of Wakanda.
T’Challa must use his powers as The Black Panther and guardian of Wakanda to save his people and the very world from a threat that holds the fate of the world in the balance.
The film takes a while to get going as Director/Co-Writer Ryan Coogler takes his time introducing audiences to the world of Black Panther and especially the various characters. The strong supporting cast features Lupita Nyong’o, Angela Bassett, Danai Gurira, Forest Whitaker, Martin Freeman, and so many others that it is great to see such well-rounded characters.
The film does take a while to get up to the action but when it arrives; it delivers making the wait worth it. What I really liked was that the characters were well-defined as were their motivations. You did not have some cartoon mega-villain with some insane scheme, but rather a realistic and believable threat whose motivations were understandable though misguided.
Marvel has again delivered a very thrilling story that fits well into their extended universe and you will want to make sure to stay through all the credits for the two additional scenes which sets up future events for the Marvel Universe. “Black Panther” is a rousing success all around continues Marvel’s Cinematic Universe in grand style.
http://sknr.net/2018/02/13/black-panther/
Gareth von Kallenbach (965 KP) rated Creed II (2018) in Movies
Jun 19, 2019
Since his spectacular fight which ended in a loss at the conclusion of “Creed”, Adonis Johnson Creed (Michael B. Jordan) has won his next six bouts and then pulls off an impressive victory to become the new Heavyweight Champion.
Life is good for the new champion as he believes he has moved out of the shadow of his legendary father and is ready to settle down with Bianca (Tessa Thompson) and move ahead with life.
At the same time, former Russian Champion Ivan Drago (Dolph Lundgren) is training his son Viktor (Florian Munteanu) in Kiev to become and even more devastating boxer than he was. Ivan has suffered much since losing to Rocky in “Rocky IV” as his wife has left him and he has been shunned and cast out of the country which once lauded him as their prize athlete. Losing to Rocky in Moscow in front of numerous dignitaries has ruined him and made his life a shell of what he was leaving him and his son cold, bitter, and driven.
When the opportunity for Viktor and Adonis to box is presented, Rocky (Sylvester Stallone) advises Adonis not to take the match. Rocky recounts that not only did Ivan kill his father in the ring, but in beating him, Rocky suffered injuries which ended his boxing career and have never fully healed.
Despite the warnings, Adonis takes the match and is unprepared for the raw brutality that Viktor presents and sufferers a horrific beating but manages to hold his title due to a technicality.
The film then follows a standard redemption story of Adonis trying to recover, face his fears, train, and find a new level of strength that he has never shown before. The climatic fight is very entertaining and well-staged and had fans at our screening reacting with cheers and dismay as the punches landed.
The film does follow some very familiar territory for the series from the emotional highs and lows of the ring, battling yourself as well as an opponent, the grueling training session, and of course the big match at the end.
Stallone gives another moving and solid performance as the aging Rocky showing that his Academy Award nominated turn in the prior film was not a fluke. What was also impressive was how Dolph Lundgren returned to a role he initially had reservations about doing and gave Drago a sympathetic side even though he is a bad guy in the film. We see a man desperate to recover what he was and who is devastated by what life has dealt him but forces himself to examine the past as he guides his son’s future.
Jordan carries a lot of swagger with his character and while the story attempts to show a softer side of his character; he is not as sympathetic as he was in the past film. I noted that Rocky was much easier to get behind as he was a more sympathetic underdog at times. That is part of what makes the series so interesting in that Rocky is still there as a presence over Adonis to guide and inform him to try to make him a true champion while allowing him to have his own identity and style.
If you are a fan of the series, then you should enjoy this next offering as long as you do not mind the formula for much of the series repeated.
http://sknr.net/2018/11/20/creed-ii/
Life is good for the new champion as he believes he has moved out of the shadow of his legendary father and is ready to settle down with Bianca (Tessa Thompson) and move ahead with life.
At the same time, former Russian Champion Ivan Drago (Dolph Lundgren) is training his son Viktor (Florian Munteanu) in Kiev to become and even more devastating boxer than he was. Ivan has suffered much since losing to Rocky in “Rocky IV” as his wife has left him and he has been shunned and cast out of the country which once lauded him as their prize athlete. Losing to Rocky in Moscow in front of numerous dignitaries has ruined him and made his life a shell of what he was leaving him and his son cold, bitter, and driven.
When the opportunity for Viktor and Adonis to box is presented, Rocky (Sylvester Stallone) advises Adonis not to take the match. Rocky recounts that not only did Ivan kill his father in the ring, but in beating him, Rocky suffered injuries which ended his boxing career and have never fully healed.
Despite the warnings, Adonis takes the match and is unprepared for the raw brutality that Viktor presents and sufferers a horrific beating but manages to hold his title due to a technicality.
The film then follows a standard redemption story of Adonis trying to recover, face his fears, train, and find a new level of strength that he has never shown before. The climatic fight is very entertaining and well-staged and had fans at our screening reacting with cheers and dismay as the punches landed.
The film does follow some very familiar territory for the series from the emotional highs and lows of the ring, battling yourself as well as an opponent, the grueling training session, and of course the big match at the end.
Stallone gives another moving and solid performance as the aging Rocky showing that his Academy Award nominated turn in the prior film was not a fluke. What was also impressive was how Dolph Lundgren returned to a role he initially had reservations about doing and gave Drago a sympathetic side even though he is a bad guy in the film. We see a man desperate to recover what he was and who is devastated by what life has dealt him but forces himself to examine the past as he guides his son’s future.
Jordan carries a lot of swagger with his character and while the story attempts to show a softer side of his character; he is not as sympathetic as he was in the past film. I noted that Rocky was much easier to get behind as he was a more sympathetic underdog at times. That is part of what makes the series so interesting in that Rocky is still there as a presence over Adonis to guide and inform him to try to make him a true champion while allowing him to have his own identity and style.
If you are a fan of the series, then you should enjoy this next offering as long as you do not mind the formula for much of the series repeated.
http://sknr.net/2018/11/20/creed-ii/
Ryan Hill (152 KP) rated Black Panther (2018) in Movies
May 11, 2019
"Bury me in the ocean with my ancestors who jumped from the ships, 'cause they knew death was better than bondage"
Full of life, joy, sorrow, and hilarity; Ryan Coogler's Black Panther just has a vibrancy you rarely find in the superhero scene, let alone blockbusters. Enriched with a deep, abiding love for African culture and Afrofuturism; the movie just feels purposeful. Important. Meaningful. Context matters here, as Black Panther will become one of very few films populated by African Americans not dealing with slavery or black history to thrive financially. And that cast is phenomenal. Boseman's soft-spoken panther-of-few-words is the rare MCUer to opt for a moment of silence rather than a snarky comment. Michael B Jordan brings an unmistakable swagger to the perpetually weak slate of Marvel villains, conveying a crushingly sad and challenging story that could just as easily be regarded as the true hero of the film. Letitia Wright as the genius tech maestro was a blast, a character who could give Tony Stark a run for his money both technologically and charismatically. And these are just three of Coogler's creations; drawn from a slate of inspired, unique and wonderfully represented roles for black actors...many of whom will deservingly use this as a career springboard of sorts.
I remember years ago I read a book about the cultural significance of various comic book locales, and the Wakanda entry struck me as uniquely sad and inspiring. Wakanda, a place busting with innovation, tradition, and pride...hidden from the world. Sort of an alternate-timeline Africa which wasn't poisoned irreparably by colonialism and all its horrors. There's a sad duality obvious in this Wakanda, that being for it to exist, it must be hidden. Must be quietly nurtured, developed and treasured. It's an apt metaphor in relation to black pride, culture, and history; something constantly being reworked, reshaped and reimagined to put a sordid past (and present) in the rear-view mirror by those who perpetrate it, knowingly or not. This idea, that for something to thrive it must be isolated, is at the heart of Black Panther. You can understand why T'Challa, and generations before him, sacrificed anything to preserve the myth of Wakanda. But you can also understand Killmonger's feeling of betrayal. The profound moral objections inherent in a small community turning it's back on a larger suffering population in the name of self-preservation. There's no heroes and villains when Black Panther is at it's best, just two sides to a terrifying moral question *loaded* with historical weight.
Because Killmonger isn't really a villain. The best illustration of this is the contrasting "dream" sequences, in which T'Challa shares a promise with his father within a transcendentally beautiful African landscape, and Killmonger is confronted by all his pain, suffering and moral rigidity in the vast concrete jungle of Oakland, in the tiny apartment where his father was murdered for trying to make a difference. They both wake up with tears in their eyes, some from pain and some from catharsis. Coogler marks the chasm between T'Challa's and Killmonger's pasts so perfectly, and illustrates exactly why they feel the way they do with such wisdom. Black Panther so clearly empathizes with Killmonger and understands where his pain was born, and the horrors that nurtured it.
And so there's no hero and no villain to this movie. Just two men in nearly identical black panther suits, clashing over how Wakanda ought to venture into a new era. Nobility and passion, conservation and sacrifice, incremental change against a vengeful redistribution of power and oppression. Both men are correct in their aspirations, being "right" here doesn't matter. it's tough for a good man to be king. Killmonger made T'Challa the hero he is, by instilling in him a mission, a perceived duty to turn around, face an oppressed people and finally lend a hand. But more than that, there's something miraculous here. An apology from a good man. A recognition of a sin even when it's perpetrator was, until now, helpless to prevent it. A declaration that not contributing to hate and prejudice doesn't equate to actively working to prevent it. A plea for a humble brand of superheroism, for countless ghosts of the past to be heard and change to erupt in their name. Divides to be bridged, chasms to be crossed and wrongs to be righted.
Black Panther has a complex, meaningful and profoundly challenging thematic framework; offering a fresh dissection of what it means to grapple with the sins of those who came before. Sure, there are some technical issues along the way, the machinations of Marvel storytelling are evident and errors could be found; but if you understand that superhero stories were meant to ask these sorts of questions and push boundaries since their inception; Black Panther is a dream.
I remember years ago I read a book about the cultural significance of various comic book locales, and the Wakanda entry struck me as uniquely sad and inspiring. Wakanda, a place busting with innovation, tradition, and pride...hidden from the world. Sort of an alternate-timeline Africa which wasn't poisoned irreparably by colonialism and all its horrors. There's a sad duality obvious in this Wakanda, that being for it to exist, it must be hidden. Must be quietly nurtured, developed and treasured. It's an apt metaphor in relation to black pride, culture, and history; something constantly being reworked, reshaped and reimagined to put a sordid past (and present) in the rear-view mirror by those who perpetrate it, knowingly or not. This idea, that for something to thrive it must be isolated, is at the heart of Black Panther. You can understand why T'Challa, and generations before him, sacrificed anything to preserve the myth of Wakanda. But you can also understand Killmonger's feeling of betrayal. The profound moral objections inherent in a small community turning it's back on a larger suffering population in the name of self-preservation. There's no heroes and villains when Black Panther is at it's best, just two sides to a terrifying moral question *loaded* with historical weight.
Because Killmonger isn't really a villain. The best illustration of this is the contrasting "dream" sequences, in which T'Challa shares a promise with his father within a transcendentally beautiful African landscape, and Killmonger is confronted by all his pain, suffering and moral rigidity in the vast concrete jungle of Oakland, in the tiny apartment where his father was murdered for trying to make a difference. They both wake up with tears in their eyes, some from pain and some from catharsis. Coogler marks the chasm between T'Challa's and Killmonger's pasts so perfectly, and illustrates exactly why they feel the way they do with such wisdom. Black Panther so clearly empathizes with Killmonger and understands where his pain was born, and the horrors that nurtured it.
And so there's no hero and no villain to this movie. Just two men in nearly identical black panther suits, clashing over how Wakanda ought to venture into a new era. Nobility and passion, conservation and sacrifice, incremental change against a vengeful redistribution of power and oppression. Both men are correct in their aspirations, being "right" here doesn't matter. it's tough for a good man to be king. Killmonger made T'Challa the hero he is, by instilling in him a mission, a perceived duty to turn around, face an oppressed people and finally lend a hand. But more than that, there's something miraculous here. An apology from a good man. A recognition of a sin even when it's perpetrator was, until now, helpless to prevent it. A declaration that not contributing to hate and prejudice doesn't equate to actively working to prevent it. A plea for a humble brand of superheroism, for countless ghosts of the past to be heard and change to erupt in their name. Divides to be bridged, chasms to be crossed and wrongs to be righted.
Black Panther has a complex, meaningful and profoundly challenging thematic framework; offering a fresh dissection of what it means to grapple with the sins of those who came before. Sure, there are some technical issues along the way, the machinations of Marvel storytelling are evident and errors could be found; but if you understand that superhero stories were meant to ask these sorts of questions and push boundaries since their inception; Black Panther is a dream.
Emma @ The Movies (1786 KP) rated Just Mercy (2019) in Movies
Jan 22, 2020
Having seen Clemency in October I felt like I was prepared for what Just Mercy might throw at me. I was not. The two films handle the death row scenario in very different ways and the storyline that runs alongside it gives you two very different experiences.
Based on a true story - when it comes to history this phrase can be a horrible thing, and when you realise that the events of Just Mercy are only actually dating back to the late 80s/early 90s, well that's kind of sickening, it doesn't feel like this should be something from my own lifetime.
In the lead role of Bryan Stevenson we have Michael B. Jordan. We see Stevenson from intern to established lawyer and yet he doesn't really make any notable progression. The person he is at the beginning isn't all that changed by the end. Jordan's performance is fine, nothing felt technically wrong about it but the consistency was completely off. Every time the character was brought face to face with prejudice and high emotions he managed to knock it out of the park, he was nervous, he was scared, he was devastated. In between those moments he was just there, his performance didn't hold any weight against anyone else's.
Jamie Foxx shows us that missing consistency as Walter McMillan. It felt like he was fully immersed in his character the whole time. There are shots where we're focused on him while other characters are talking and he's always attentive to them, you can see him assessing Stevenson in their meetings and it was fascinating to watch. Every moment was strong without the need for any additional motivation.
When we're inside the prison there are so many different things going on. The tension between the guards and inmates, and that extending to Stevenson is powerful and it's development through the film and the change in attitude was a nice one to see. But the camaraderie between the inmates was probably the thing that was the most affecting, the execution in this was surprisingly subtle but very moving.
Just Mercy has a strong message about the divide and prejudice in southern America and the justice system, it's a very strong reminder of how much has changed because of strong-willed people and how much still needs to change. While I might not watch this film again it was certainly something I enjoyed watching, as much as "enjoyed" feels like the wrong word to use.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/just-mercy-movie-review.html
Based on a true story - when it comes to history this phrase can be a horrible thing, and when you realise that the events of Just Mercy are only actually dating back to the late 80s/early 90s, well that's kind of sickening, it doesn't feel like this should be something from my own lifetime.
In the lead role of Bryan Stevenson we have Michael B. Jordan. We see Stevenson from intern to established lawyer and yet he doesn't really make any notable progression. The person he is at the beginning isn't all that changed by the end. Jordan's performance is fine, nothing felt technically wrong about it but the consistency was completely off. Every time the character was brought face to face with prejudice and high emotions he managed to knock it out of the park, he was nervous, he was scared, he was devastated. In between those moments he was just there, his performance didn't hold any weight against anyone else's.
Jamie Foxx shows us that missing consistency as Walter McMillan. It felt like he was fully immersed in his character the whole time. There are shots where we're focused on him while other characters are talking and he's always attentive to them, you can see him assessing Stevenson in their meetings and it was fascinating to watch. Every moment was strong without the need for any additional motivation.
When we're inside the prison there are so many different things going on. The tension between the guards and inmates, and that extending to Stevenson is powerful and it's development through the film and the change in attitude was a nice one to see. But the camaraderie between the inmates was probably the thing that was the most affecting, the execution in this was surprisingly subtle but very moving.
Just Mercy has a strong message about the divide and prejudice in southern America and the justice system, it's a very strong reminder of how much has changed because of strong-willed people and how much still needs to change. While I might not watch this film again it was certainly something I enjoyed watching, as much as "enjoyed" feels like the wrong word to use.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/01/just-mercy-movie-review.html
Kirk Bage (1775 KP) rated Fruitvale Station (2013) in Movies
Aug 6, 2020
Here is another movie that was put up for consideration for my upcoming book 21st Century Cinema: 200 Essential Films. It didn’t quite make the final cut, but is part of the long list of honourable mentions – movies that are easy to like and recommend, but aren’t quite of the very highest quality in their respective genres.
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Borderline superstar Michael B. Jordan owes his career to Ryan Coogler, which began in earnest in 2013 with the strong effort of true story Fruitvale Station, highlighting the life and final moments of Oscar Grant, who was one of a tragically long list of innocent young men murdered by the police in modern America. Since then he has gone on to star as the eponymous Creed and as the popular Erik Killmonger in Black Panther, making him more or less the most famous black actor under forty currently at work.
I mention him first because having seen the other two films first, I have to admit I wasn’t quite getting it. I mean he is fine in both movies, but nothing world beating. Then you go back to his acheivement in the earlier film and begin to see what he might be capable of given the right scripts. He pretty much embodies Oscar Grant to a degree you believe you are watching a documentary. Which is the major plus point of Ryan Coogler’s direction also.
By pulling us in to the family life of Oscar, as if we were a fly on the wall, we become connected to their story as if we were part of that inner circle, making the inevitable horror of events hit home all the harder. We watch mundane events and conversations take place with a shadow of foreboding that never crosses over into foreshadowing or signposting. The balance is very nicely done.
Melonie Diaz, as girlfriend Sophina, and especially the ever wonderful Octavia Spencer, as loving but grounded mother Wanda, offer solid support, but the camera clings to Jordan by choice, asking us to place ourselves in his shoes and feel the empathy first hand. It is a sober journey, almost totally devoid of directorial flair, which is both a strength and a weakness, ultimately.
With such an awful, heart-rending subject, it can be difficult to remove yourself into a dispassionate view of a film artistically, as the message overpowers your emotions. The best thing that can be said in this case is that the drama never crosses the line of sentimentality or overkill; it merely presents events as they were and asks you to draw your own conclusions. Having said that, I can’t over-praise it simply because the subject needs to be seen, heard, discussed and acted upon with total immediacy in the real world.
This film is already seven years old, and the issues are more pertinent than ever before, as the BLM movement rages all over the world, but especially in the USA, where the culpability and violence of police officers must be addressed and resolved before the loss of one more innocent life. The message delivered by the film is clear and unambiguous – it has to be heeded. And in that sense it is an indespensible film of great power, I would advise you to see.
And with that, it seems a moot point to criticise it, because there isn’t anything negative to say that would say anything useful. I would just say again that it doesn’t quite make the grade of the best 200 films since the Millennium. Whereas, BlacKkKlansman does. An unfair comparison in many ways, but an obvious one in others. See both. Think about them, do what you can, and help make hatred and prejudice a sad fact of history.
Decinemal Rating: 70
Gareth von Kallenbach (965 KP) rated Mortal Kombat Legends: Scorpion's Revenge (2020) in Movies
Apr 14, 2020
The hugely popular Mortal Kombat franchise has a new cinematic entry with the release of Mortal Kombat Legends: Scorpion’s Revenge. The film is based on the very popular game series which began in the arcades and grew to dominate home gaming systems.
The franchise has also included theatrical films, toys, and scores of merchandise and the recent Mortal Kombat XI game was a massive success as well.
With news of a new live-action film in the works; Warner Bros has given fans something that truly fits the franchise well in the form of an R-Rated animated film.
While the prior films had a PG-13 rating, this one relishes the gore and violence and gives fans plenty of what they have come to expect.
The plot follows elements of the game and early film in that the evil Shao Khan has called forth the champions from the various realms to fight in a generational tournament where the realm who wins 10 strait events will have control over all the realms.
With 9 consecutive wins in place for Shao Khan and his champion Goro (Kevin Michael Richardson), the God Raiden (Dave B. Mitchell), has assembled a team of champions to save Earth.
There is Liu Kang (Jordan Rodrigues), Sonya Blade (Jennifer Carpenter), and the ego maniac Johnny Cage (Joel McHale).
The team must battle all manner of enemies which includes a very impressive list from the game series and it was great to see so many of them appear even if their roles were small.
The main story focuses on Scorpion (Patrick Seitz) and his attempt to regain what was taken from him and it is his backstory which sets the tone and frames much of the events.
Action wise the film delivers as there are the moves, graphic internal close ups, and gore that fans will expect. There are also a few surprises along the way that I do not want to spoil. I did wonder why every creature in the film had red blood as I do remember there being a bit of variety amongst the non-human creatures but this is a minor fact in what is otherwise an enjoyable film that fans should like.
While the plot does not hold much in the way of surprises; it does give fans the action and characters they love and does bring some interesting new elements to the franchise as well as the basis for some character growth in future films.
The animation and voice work is first-rate and really captures the look and tone of the series while having a visual style of its own.
The ending clearly seems to be setting up a sequel and I for one cannot wait to see what they have in store next.
4 stars out of 5
The franchise has also included theatrical films, toys, and scores of merchandise and the recent Mortal Kombat XI game was a massive success as well.
With news of a new live-action film in the works; Warner Bros has given fans something that truly fits the franchise well in the form of an R-Rated animated film.
While the prior films had a PG-13 rating, this one relishes the gore and violence and gives fans plenty of what they have come to expect.
The plot follows elements of the game and early film in that the evil Shao Khan has called forth the champions from the various realms to fight in a generational tournament where the realm who wins 10 strait events will have control over all the realms.
With 9 consecutive wins in place for Shao Khan and his champion Goro (Kevin Michael Richardson), the God Raiden (Dave B. Mitchell), has assembled a team of champions to save Earth.
There is Liu Kang (Jordan Rodrigues), Sonya Blade (Jennifer Carpenter), and the ego maniac Johnny Cage (Joel McHale).
The team must battle all manner of enemies which includes a very impressive list from the game series and it was great to see so many of them appear even if their roles were small.
The main story focuses on Scorpion (Patrick Seitz) and his attempt to regain what was taken from him and it is his backstory which sets the tone and frames much of the events.
Action wise the film delivers as there are the moves, graphic internal close ups, and gore that fans will expect. There are also a few surprises along the way that I do not want to spoil. I did wonder why every creature in the film had red blood as I do remember there being a bit of variety amongst the non-human creatures but this is a minor fact in what is otherwise an enjoyable film that fans should like.
While the plot does not hold much in the way of surprises; it does give fans the action and characters they love and does bring some interesting new elements to the franchise as well as the basis for some character growth in future films.
The animation and voice work is first-rate and really captures the look and tone of the series while having a visual style of its own.
The ending clearly seems to be setting up a sequel and I for one cannot wait to see what they have in store next.
4 stars out of 5