Creed III review Creed III: Michael B. Jordan used advice from Denzel Washington and Bradley Cooper to head to the screen – Exclusive image Michael B. Jordan’s Creed III: Adonis faces old friend turned enemy in first tape – announces Jordan vs. . Old Jonathan

“It’s your time.” So said Rocky of Sylvester Stallone in the final moments of I believe II. This was true in more ways than one: not only was the franchise torch officially passed to Adonis Creed onscreen, but star Michael B. Jordan made his directorial debut with belief III. The result is a film that proves that while the main character owes Rocky a debt, he no longer needs the Italian stud to be as powerful and emotionally satisfying as the franchise’s best installments.

The screenplay, by Keenan Coogler and Zach Baylin (based on a story they co-wrote with I believe AND black Panther director Ryan Coogler), gets much of that emotion from Adonis and Dame (Jonathan Majors). A prologue set in 2002 establishes their relationship, a young Creed holding the boxing gloves of then boxing prodigy Dame, and hints at their chess history. As Dame re-enters the picture, Adonis is now enjoying the fame and wealth of his retirement after living the boxing life his friend dreamed of. The sense of brotherhood between them is always deeply felt, even when every conversation is full of tension.

Dame’s pain comes from a real and honest place, and Majors gives another dynamic and magnetic performance in a role that gives her plenty of room to get emotional. As formidable as her muscular physique is, it’s in the quieter, more subtle and equally intense moments that she truly impresses. However, she’s arguably even more compelling than Adonis vs. Give me, it’s Adonis vs. Adonis. He’s always been his toughest opponent and with Dame reminding him of a past he’s been trying to forget, Jordan opens up new depths and vulnerabilities that are extensively explored.

Jordan also finds more for Bianca than Tessa Thompson, with the actor accessing the nuances of Bianca’s post-famous life journey. And increased attention to Creed’s deaf daughter Amara (Mila Davis-Kent) gives us a welcome family dynamic that’s sweet but not syrupy. For example I believe explored what Apollo conveyed to Adonis, just like belief III he wonders what lessons, good or bad, Amara might inherit from her father, especially regarding his penchant for violence. It’s a fascinating idea in a film that has violence in its DNA, if not as fully realized as it could have been.

Indeed, after a well-paced and fresh 90-minute opening, the final act feels unnecessarily rushed, resulting in briefly altered plots and story arcs and at least one decision that feels a little too out of place. The move to franchise convention, with familiar boxing beats we’ve seen in this series and many times before, dilutes some of the patient good work that has come before.

But even with that change, Jordan’s direction is solid throughout, with the boxing sequences drawing on his love of anime, especially evident in the final fight, which features epic slow motion. Dragonball Z–esque bumps and cool stylized visual effects. Should there be more? I believe sequels in the future, and based on that there’s no reason not to, it’s exactly the kind of freshness the franchise could have more of.