“In this age of reboots, remakes and rebrands it's kind of amazing to have one that is not a cynical repackaging but in fact a personal passion project. No one was looking for a continuation of the Rocky series (which, against all odds, had a perfect ending ten years ago with Rocky Balboa) except for Fruitvale Station director Ryan Coogler. His idea and passion were strong enough to win over Sylvester Stallone to not only reprise his signature character in a supporting role, but to for the first time give control over to a different writer (all six previous Rocky movies were written by Stallone, four of them with him as director).
“I don't know what's more impressive: that Stallone was willing to take this chance on a relatively unproven director, or that it paid off so definitively. Coogler organically hits on all the important Rocky elements (triumphant music, Philly scenery, bonding between opponents, training montages, grey sweatshirts) and cleverly mines an event from the most ridiculous entry in the series for serious drama. The death of Apollo Creed in Rocky IV gives us Adonis's rough childhood and struggle for identity, Mary-Anne Creed's fear of her adopted son boxing, Rocky's debt to Apollo and Mary-Anne and his guilt for not throwing in the towel. Maybe most impressively, Coogler and cinematographer Maryse Alberti found thrilling ways to put us into the fights (and even the ring entrances) in ways we've never seen before, not even in the six previous Rocky movies.
“I'm not ashamed to say that Rocky always makes me cry at the end, and Creed comes close several times. For me it's not just the triumphant sports moments, the profound gift Adonis receives from Mary-Anne, or even Stallone's heartbreaking portrayal of our icon facing his mortality. Most of all it's the sincerity of Adonis, after growing up in group homes with no parents at all, calling Rocky and Bianca ‘my family.’ “ ~ Vern
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