Michael B. Jordan is back yet again as Adonis Creed, the haughty hero son of the late Apollo. This time, however, his rival is his old running buddy “Damian ‘Dame’ Anderson” (Jonathan Majors – “The Last Black Man in San Francisco,” 2019) who hales from his less wise days. Years later, Adonis ends up with the career that Dame always wanted while Dame agonizes behind bars. On screen, Adonis shines like before, but unlike in previous endeavors, this is Jordan’s directorial debut in a feature-length film, and he does a bang-up job at bringing it to life for us.
Riveting fight choreography, engorged camera angles, and semi-uncomfortable stare-downs between rivals at dinner tables define this third installment in the Creed series—in which the close-to-home tension between Dame and Don take the viewing experience to another level.
Gritty, grimy, and true to form of previous films, it’s got the montages you want and the many memorable scenes to make you gasp. There is something about witnessing the collapsing chemistry between two friends, especially where unresolved karma gets in the way.
Majors is a star for good reason. He has demonstrated that he has the chops to take on just about any role. While we get to see Adonis still enjoying life with his wife, “Bianca” (Tessa Thompson – “Dear White People,” 2014) and their sweet daughter, “Amara” (Mila Davis-Kent), their changes with the passage of time play right into the execution of the story in a most credible way.
What audiences get with Creed III is not a mere completion of a finely mapped out trilogy, but one of that pays its respects to the Balboa age that came before it. Oakland-based writer Ryan Kyle Coogler (known for the Black Panther series) adds his own thematic styling to the project, a thing not to be missed by admirers of the previous films.
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