Creed III

CREED III
2023 | Dir. Michael B. Jordan | 116 Minutes

"So, how does it feel, having somebody else sing your song?"


Adonis Creed's idyllic life in retirement is disrupted when Damien, a figure from Donnie's troubled past, demands a shot at the championship title. Feeling a sense of obligation to assist the desperate Dame, Donnie gives him the opportunity but soon regrets his decision when Dame's heinous methods are revealed. With his own reputation and the integrity of the sport of boxing itself on the line, Donnie steps into the ring once again to defend his legacy and set his wayward friend straight.

With Creed III, leading man Michael B. Jordan makes his directorial debut delivering arguably the best installment of the trilogy. Jordan places interpersonal drama front and center, letting the feud between Donnie and Dame drive the narrative more than the featured boxing matches. The story naturally builds on the thematic threads of the previous chapters, as an older and wiser Donnie balances family and career while facing his repressed inner demons. Flipping franchise formula on its head, the character of Dame plays like a twisted take on Rocky Balboa, a fighter who is perhaps past his prime but with the drive of a true contender, though what sets him apart is his desperation that leads him to do absolutely anything necessary to win, up to and including utilizing underhanded tactics. Perhaps the most intelligent aspect of the narrative, it overtly challenges the mentality of a fighter, ultimately emphasizing conflict resolution through discussion rather than through violence.

Shot entirely on IMAX cameras, the scale of the picture is truly massive, and Jordan makes the most of the vast visual real estate particularly in the ring. The boxing sequences are choreographed and paced with an abundance of style. Skillfully mixing extreme close-ups and slow motion into the intense fights, these moments effectively illustrate the split-second strategic thinking that occurs in the minds of the combatants. Taking a giant creative swing, the proceedings become outright surreal during the climatic match, when the audience in the background literally disappears and the boxing ring transforms into a prison cell as the two fighters trade blows with no sense of time until the viewer is suddenly brought back to reality for the final round.

Michael B. Jordan is better than ever, giving a measured performance that does an excellent job of showing Donnie's growth as a character. As Dame, Jonathan Majors is simply fantastic, playing a nuanced opponent with motivations that are understandable, fully bringing to life a complex character that is easy to like but also easy to despise. Returning as Bianca, Tessa Thompson's is incredibly engaging as Donnie's supportive spouse and emotional compass, particularly captivating when challenging Donnie's refusal to discuss his past and his default combative mindset. Mila Davis-Kent shines as the adorable Amara Creed, exuding genuine charisma while also delivering exceptional representation for the deaf community. Phylicia Rashad is heartbreaking as the aging Mary Anne, sharing the most touching moments of the picture with Jordan's Donnie. The supporting cast also features Thaddeus J. Mixson and Spence Moore II as young Donnie and Dame in flashbacks, Jose Benavidez as Donnie’s chosen successor boxing champ Felix Chavez, Selenis Leyva as Chavez's fierce mother Laura, Wood Harris as weary series regular Little Duke, Florian Munteanu reprising the part of Viktor Drago from Creed II, and Tony Bellew returning as Ricky Conlan from Creed for one last fight.

Breaking from series formula in intriguing ways, Michael B. Jordan's Creed III elevates the saga of Donnie to new creative and emotional heights. The film is both an excellent sports picture, capturing the action with distinct visual flair, and a deeply affecting drama about nurturing family, preserving friendship, and realizing the limits of personal accountability. Consistent with the best pictures of the franchise, it delivers big crowd-pleasing entertainment with a whole lot of heart.


FRAGMENTS
- Though the absence of Sylvester Stallone as Rocky Balboa is felt, and Stallone's public misgivings about producer Irwin Winkler over the rights to the Rocky character he created casts a shadow on the whole franchise, it allows Michael B. Jordan to take complete ownership of the film, firmly establishing that this very much is Donnie's story going forward

- Jordan is open about his anime fandom and the influence it has on his filmmaking, and it shows: from the posters in young Donnie's bedroom to the way the fights are visualized

- Joseph Shirley's score for this film is appropriately epic and has its own musical identity, only sparingly referencing Ludwig Göransson's themes for Donnie and Drago from Creed and Creed II, and Bill Conti's "The Final Bell" from Rocky

- Of all of the appearances from real life sports commentators in this series, Stephen A. Smith's appearance in this film is by far my favorite


MCU CONNECTIONS
- Wood Harris (Officer Gale in Ant-Man)

- Michael B. Jordan (N'Jadaka/Erik "Killmonger" Stevens in Black Panther and Black Panther: Wakanda Forever)

- Florian Munteanu (Razor Fist in Shang-Chi and the Legend of the Ten Rings)

- Jonathan Majors (Kang in Ant-Man and the Wasp: Quantumania)
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Ant-Man and the Wasp: Quantumania

ANT-MAN AND THE WASP: QUANTUMANIA
2023 | Dir. Peyton Reed | 124 Minutes

"You're out of your league, Ant-Man."


Scott Lang and his loved ones are hurled into the Quantum Realm by Kang, a treacherous villain from Janet van Dyne's past. Trapped in the sprawling microscopic world, Kang takes Cassie prisoner, forcing Scott to commit a mind-bending heist to retrieve the key that would release him from his confinement. Meanwhile, the subatomic denizens living under Kang's oppression mount a last-ditch uprising against their merciless ruler. 

Ant-Man and the Wasp: Quantumania flips the series' low-stakes sci-fi comedy heist formula on its head by ramping up the drama and significantly increasing the level of danger faced by its heroes, noticeably dialing back the signature levity of previous Ant-Man romps. Marking the first cinematic appearance of Kang, the film firmly establishes the seemingly limitless potential of the threat posed by the time traveling multiversal despot. While this sequel markedly does not stand on its own as a self-contained story, it’s reasonably successful in continuing story arcs that began in preceding chapters, delivering some great character moments for its previously established cast of heroes. Perhaps to the chagrin of some, it bluntly sets up narrative threads that are clearly intended to be resolved in future adventures, a common trait for this phase of Marvel Studios films. The picture nevertheless offers fun visuals, inventive action, and amusing character moments boosted by engaging performances from new and returning cast members. The running theme of common heroes choosing to fight oppression on any scale, even under the most extraordinary and seemingly impossible circumstances, is simplistic but stays true to the core values of the series.

Most of Quantumania's runtime takes place in the Quantum Realm, a sprawling microscopic world only briefly glimpsed at in past Marvel Studios pictures. Its bizarre landscapes and inhabitants are rendered in visually creative and appealing ways. Off-putting by design, though hilariously comics-accurate, the film's depiction of M.O.D.O.K. perfectly fits the character's inherently zany nature. While the big rebel uprising finale is a bit generic, the centerpiece heist sequence involving rapidly multiplying variants of Scott and Hope caught within a "Probability Storm" stands out as one of the most entertaining moments of the Marvel Cinematic Universe to date.

Paul Rudd has never been more effortlessly charming as Scott, and Quantumania allows him to lean a bit more into drama as Scott fights to protect Cassie and goes toe-to-toe in an tense all-out brawl with an enemy who claims to have killed Avengers. Believably formidable, Kang as portrayed by Jonathan Majors is a force to be reckoned with, giving a nuanced and powerful performance as the cold and collected conqueror. Delivering an energetic performance with a dash of vulnerability, Kathryn Newton is a perfect fit as the good-hearted rebellious teenage Cassie, sharing incredible chemistry with Rudd particularly as stakes are suddenly elevated. Evangeline Lilly unfortunately does not have much to do in terms of character development for Hope, though she does have her fair share of big hero moments that really suit her. As the other Wasp of the feature, Michelle Pfeiffer's role as Janet is, conversely, greatly expanded, not only delivering important exposition with conviction and gravitas but also taking an active part in a number of action sequences. Appearing to be having the time of his life, Michael Douglas owns some of the funniest lines and reaction shots as Hank Pym, even saving the day with a smirk backed by an army of massive hyper-intelligent ants. Corey Stoll makes a surprise return as Darren Cross, reborn as the sadistic but comically deeply insecure M.O.D.O.K., and he genuinely brings an unexpected depth to the character despite his new categorically ludicrous form. The film also features Katy O'Brian as rebel leader Jentorra, David Dastmalchian as the voice of the hole-obsessed slime monster Veb, William Jackson Harper as wary psychic Quaz, and Bill Murray essentially just being Bill Murray as the corrupt Krylar.

A rollicking caper with mind-boggling stakes, thematically centered on the simple notion of "looking out for the little guy" no matter the scale, Ant-Man and the Wasp: Quantumania is designed first and foremost to be a prelude for things to come. Though it ultimately comes off as somewhat muddled by objective storytelling standards, the film opts to build upon momentum gathered in previous installments to reach character development crescendos. For die-hard fans of the franchise, it is the most emotionally satisfying Ant-Man picture to date. This extended excursion into the delightfully wacky Quantum Realm is also greatly elevated by the comedic charisma of Paul Rudd and the dramatic prowess of Jonathan Majors.


MID-CREDITS STINGER
A trio of Kang variants host a massive gathering of countless other Kang variants in an enormous otherworldly stadium.


POST-CREDITS STINGER
At the turn of the 20th century, Loki and Mobius witness an on-stage demonstration presented by a Kang variant going by the moniker Victor Timely.


FRAGMENTS
- Always thrilled to see Randall Park return as Jimmy Woo, even more thrilled that his brief scene also features a cameo appearance by Ryan Bergara of Watcher

- Ruben Rabasa is a riot as the coffee shop attendant in the prologue and epilogue

- I adore William Jackson Harper as Chidi on The Good Place, and though his role is somewhat inconsequential in this he's still a lot of fun


SUPPLEMENTAL STUFF

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Black Panther: Wakanda Forever

BLACK PANTHER: WAKANDA FOREVER
2022 | Dir. Ryan Coogler | 161 Minutes

"Vengeance has consumed us. We cannot let it consume our people."


Following the sudden heartbreaking loss of T'Challa, Wakanda is met with hostility from foreign powers while Shuri and Ramonda continue to grieve. When the powerful enigmatic leader of an underwater empire emerges from the ocean and forces Wakanda to choose between alliance or destruction, a new Black Panther must rise to protect Wakanda.

Writer/Director Ryan Coogler essentially performs an unimaginably difficult juggling act: addressing the unexpected passing of Black Panther star Chadwick Boseman in a respectful way that also makes logical sense within the established narrative, introducing several key recurring characters new to the Marvel Cinematic Universe in a way that serves the film, telling a genuinely resonant and engrossing story, while still delivering the customary big budget set pieces of a modern superhero movie. Black Panther: Wakanda Forever fortunately delivers in all the ways that matter. T'Challa's absence, directly analogous to tragic loss of Chadwick Boseman, is an emotional through line that informs much of the narrative and further develops Shuri as a main character in her own right as she struggles with processing her sorrow through a captivating, deeply personal journey. Namor and Riri Williams fit into the MCU with the very best introductions imaginable, established as vibrant components of the Marvel Studios canon virtually right out of the gate. Perhaps the picture's weakest aspect is its relatively slow pace further burdened by its weighty themes of grief and retribution. However, the gravity of it all is appropriate, delivering a tale about the difficult nature of sorrow that rings true while drawing compelling parallels between Shuri and antagonist Namor. Of course, the film also certainly offers up plenty of massive exciting spectacle.

The visual effects and action sequences are some of best yet from Marvel Studios. The chase scene introducing Riri's prototype armor leading to Okoye's battle with Talokan warriors is thrilling through and through, as close to capturing the thrill of Tony Stark's first flight in Iron Man as audiences are like to get nearly a decade and a half since that film's release. The sense of wonder as Namor introduces the underwater kingdom of Talokan to Shuri is awe-inspiring, literally breathtaking as Talokan is rendered loving, aesthetically gorgeous detail. Talokan's assault on Wakanda would be a worthy finale for any big budget blockbuster but the feature ups the ante further in its final jaw-dropping oceanic battle that introduces Ironheart in all her glory, the MCU's visually striking take on the Midnight Angels, and a brutal knock-down-drag-out one-on-one fight between the Black Panther Shuri and Namor.

Letitia Wright gives her best performance yet, giving the character of Shuri more depth and nuance than ever, convincingly conveying vulnerability and fierceness in equal measure, proving without a doubt that she is more than capable of carrying on this franchise. Tenoch Huerta Mejía is both incredibly charismatic and believably formidable in the role of Namor, an instantly iconic anti-hero and a proper foil to the Black Panther. As Ramonda, Angela Bassett's gravitas is undeniable, channeling so much pain into palpable anger as a grieving mother. Playing a more significant role in this story, the fantastic Danai Gurira's Okoye seamlessly alternates between humorous, badass, and heartbreaking without missing a step. Dominique Thorne shines in the role of scrappy tech genius Riri Williams, her joy truly infectious when she suits up as Ironheart. Michaela Coel is a welcome addition to the MCU as the rebellious Wakandan warrior Aneka though her part in the story is relatively small. Mabel Cadena's Namora and Alex Livinalli's Attuma make for interesting if somewhat one-dimensional secondary adversaries. Returning supporting cast members include Lupita Nyong'o as the ever-resourceful Nakia who is always fun to watch, Winston Duke who seems to be having the time of his life as Jabari leader M'Baku, Florence Kasumba as Dora Milaje regular Ayo who gets an unexpected promotion, Martin Freeman as CIA Agent with a conscience Everett K. Ross, and Julia Louis-Dreyfus making her second MCU film appearance as the funny but deceptively treacherous Valentina Allegra de Fontaine.

Black Panther: Wakanda Forever is an earnest meditation on the process of grieving, a spectacular epic pitting one hidden fantastical empire against another, and a fitting tribute to the late Chadwick Boseman. Ryan Coogler's sequel is heartfelt, ambitious, moving, slightly ponderous, but all-around spectacular. The picture does a fine job of continuing the story of Wakanda while further expanding the world of the Marvel Cinematic Universe in truly thrilling ways.


MID-CREDITS STINGER
Shuri meets her nephew for the first time.


FRAGMENTS
- In memory of Chadwick Boseman, the Marvel Studios logo that opens the film exclusively features images of Chadwick Boseman and clips of his various appearances from the Marvel Studios films playing over silence

- Making the MCU's Namor the ruler of Talokan (as opposed to Atlantis as in the original Marvel Comics) and rooting him and his people in Mesoamerican culture is simply ingenious

- Imperius Rex!

- I was surprised to see Lake Bell turn up as a doomed CIA scientist

- I was even more surprised to see Michael B. Jordan's uncredited return as Killmonger, appearing to Shuri on the Ancestral Plane in a powerful scene that further adds depth to Shuri's character, continuing the streak of Jordan appearing in every single feature film directed by Ryan Coogler to date

- The revelation that Ross and Val are exes was quite unexpected but very, very amusing


SUPPLEMENTAL STUFF

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Thor: Love and Thunder

THOR: LOVE AND THUNDER
2022 | Dir. Taika Waititi | 119 Minutes

"You seek love, because it's all any of us want."


A grieving father driven to kill all the gods of the universe kidnaps the children of New Asgard. To save the young Asgardians, Thor and Korg reunite with Valkyrie and, to Thor’s surprise, his ex-girlfriend Jane Foster - now a Thor in her own right wielding a reconstituted Mjolnir, though she secretly suffers from terminal cancer. As Thor begins to rekindle his relationship with Jane, as well as with his trusty old hammer, he must come to terms with his fear of loss and with Jane's imminent mortality.

With all the heart and irreverent humor one would expect from director Taika Waititi, underscored with numerous Guns N' Roses needle-drops, Thor: Love and Thunder ffurther grounds the titular hero by exploring his flaws through his relationship with his ex while it only touches upon other intriguing ideas with mixed results. Though Thor's fear of loss was portrayed with a surprising level of poignancy in Avengers: Infinity War and Avengers: Endgame, Love and Thunder leans into it to contextualize why Thor and Jane didn't work out as a couple. This is humorously illustrated through a true-to-life montage of the pair gradually drifting apart featuring brief scenes presumably set between the events of Thor: The Dark World and Thor: Ragnarok. Thor's journey as a character throughout the Marvel Studios films takes a startling turn by the epilogue of this story, positing that Thor was never meant to be King of Asgard, Jane's boyfriend, or a Guardian of the Galaxy - he was meant to be a father all along. It's an odd character turn that feels somewhat underdeveloped. The way Jane deals with her cancer is perhaps a potentially more captivating story than Thor’s continuing self-discovery, though the film doesn’t really take time to elaborate on it. Love and Thunder also examines the questionable role that gods play in the grand scheme of the Marvel Cinematic Universe. Disturbingly, most of the gods are portrayed as distant and uncaring, willfully deaf to the pleas of the mortals who worship them, perhaps reflecting Waititi's own views on religion. However, the film only dares to scratch the surface of this notion, mostly utilizing it as the motivation for Thor's compelling new adversary.

The visual style of the film is bold and vibrant, doing its very best to capture the aesthetic of rock album covers from a bygone era. The special effects are some of the most impressive and varied featured in a Marvel Studios film to date. It’s a feast for the eyes, from the fantastically colorful alien worlds Thor defends with the Guardians of the Galaxy to the incredible scale of Omnipotent City. The monochrome Shadow Realm sequence is a striking stand-out set piece. Though Gorr's shadow creatures are somewhat uninspired and the fight choreography can be a bit messy at times, the moments that shine really shine, such as Jane's neat Mjolnir break-out trick and the Asgardian children wielding makeshift Thor-power-imbued weapons during the finale.

Chris Hemsworth looks like he's having the time of his life playing the role of Thor for the eighth time, funnier than he's ever been as he fawns over Jane and Mjolnir (amusingly making Stormbreaker jealous). More captivating than ever reprising the now significantly more complex role of Jane Foster, Natalie Portman really sells the action and the drama of the stubborn astrophysicist on the verge of death, putting on a brave face for her comrades in arms. As Gorr, Christian Bale is moving, terrifying, and actually also very funny, doing a superb job of turning the so-called "God Butcher" into a sympathetic villain. In a much bigger role this time around, director Taika Waititi's rock monster Korg narrates much of the picture, naturally giving himself some of the best lines. Tessa Thompson's Valkyrie is mostly underserved this time around, a glorified sidekick that doesn't have too much to do despite her new role as King of Asgard, though she makes Valkyrie's friendship with Jane believable. The film also features screen legend Russell Crowe as the haughty Zeus, speaking in a ridiculously exaggerated Greek accent while hilariously flaunting his thunderbolt weapon. In what amounts to extended cameos, Chris Pratt, Bradley Cooper, Vin Diesel, Dave Bautista, Karen Gillan, Pom Klementieff, and Sean Gunn briefly reprise the roles of the Guardians of the Galaxy in the picture's first act. Kat Dennings and Stellan Skarsgård also briefly reprise their respective parts as Jane's colleagues Darcy and Dr. Selvig.

A flawed meandering adventure continuing the story of Marvel Studios' slightly forlorn meathead God of Thunder, director Taika Waititi's second Thor film doubles down on goofy comedy and emotional earnestness while subverting expectations in dubious ways, leaving some interesting ideas severely underdeveloped. Despite its narrative shortcomings, Thor: Love and Thunder is ultimately an entertaining ride with a rocking soundtrack and an appealing antagonist.


MID-CREDITS STINGER
Angered that he was defeated by Thor, Zeus sends a powerful warrior after the God of Thunder, his son Hercules (Brett Goldstein).


POST-CREDITS STINGER
A hero arrives in Valhalla.


FRAGMENTS
- Gorr's daughter, and subsequently Thor's adoptive daughter, is portrayed by Chris Hemsworth's real life daughter, while Hemsworth's son plays young Thor in one quick scene

- Michael Giacchino's rock version of his Marvel Studios Fanfare is simply fantastic

- Nice to see Jaimie Alexander return as Sif, though her absence since the events of Thor: The Dark World isn't addressed

- Chris Hemsworth's brother Luke Hemsworth, Matt Damon, and Sam Neill reprise the roles of the Asgardian actors respectively portraying Thor, Loki, and Odin, now joined by Melissa McCarthy as an actor playing Hela hilariously hamming it up reenacting the passing of Odin and the return of Hela as seen in Thor: Ragnarok

- I was totally blown away by the film's depiction of the cosmic entity Eternity

- So thrilled that Brett Goldstein, best known as the foul-tempered foul-mouthed Roy Kent on Apple TV+'s Ted Lasso, is the MCU's Hercules
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Lightyear

LIGHTYEAR
2022 | Dir. Angus MacLane | 105 Minutes

"You don’t need to save us, you need to join us."


Star Command Galactic Ranger Buzz Lightyear commits a series of reckless mistakes that stand his crew of hundreds on a hostile alien world. Determined to rectify his errors by any means necessary, Buzz's desperation eventually leads him to team up with a trio of unlikely comrades. Together, they learn the value of teamwork and come to terms with each of their unique shortcomings.

Lightyear is a charming, competently constructed sci-fi feature but aside from its surprisingly mature story about regret, blind determination, and owning up to ones mistakes in a healthy way, the film is ultimately somewhat unremarkable. Pixar's extreme attention to detail and technical prowess are as impressive as ever, but neither its craftsmanship nor the narrative of the film are particularly groundbreaking. Its metatextual conceit as a film within the world of Toy Story is honestly more distracting than clever, recontextualizing the Buzz action figure's dialogue in ways that only serve no other purpose than to elicit knowing head nods from diehard fans. Fortunately, Lightyear very much functions as a perfectly enjoyable standalone film, though it isn't quite one of Pixar's best.

As Buzz, Chris Evans puts on the perfect heroic voice while also more than capable of expressing the flawed protagonist's vulnerability. Playing Izzy, Keke Palmer exudes all of the energy and optimism of the plucky aspiring space ranger. Peter Sohn's deadpan performance as the resourceful robotic cat Sox, completely stealing the show. Strong, warm, and a bit heartbreaking, Uzo Aduba is perfectly cast as Buzz's best friend and commanding officer Alisha. James Brolin convincingly plays the antagonist Zurg in a role that is unexpectedly nuanced. The supporting cast also features Taika Waititi as the bumbling Mo, Dale Soules as the destructive Darby, and Isiah Whitlock Jr. as Commander Burnside.

While Lightyear doesn't quite go to infinity, much less beyond, the film is a serviceable space adventure with plenty of action and humor, carrying all of the emotional resonance that comes standard with Pixar productions. The picture's central lesson of moving on from mistakes big and small is an important one, presented in a way that's accessible to children, though older audiences with more life experience are sure to get more mileage out of it.


MID-CREDITS STINGER
Burnside enjoys his laser shield.


POST-CREDITS STINGER
DERIC finally completes is mission briefing.


FINAL STINGER
Meanwhile, adrift in space, Zurg returns to life.


FRAGMENTS
- Despite the opening blurb explaining that Andy from Toy Story watched this film in 1995, Lightyear thematically and technically doesn't feel like a film from 1995, much less the favorite film of a typical six-year-old boy

- Uzo Aduba and Dale Soules starred in Netflix's Orange Is the New Black


MCU CONNECTIONS
- Chris Evans (Steve Rogers in Captain America: The First Avenger, The Avengers, Thor: The Dark World, Captain America: The Winter Soldier, Avengers: Age of Ultron, Ant-Man, Captain America: Civil War, Spider-Man: Homecoming, Avengers: Infinity War, and Avengers: Endgame; and Johnny Storm is Deadpool & Wolverine)

- Taika Waititi (Korg in Thor: Ragnarok, Avengers: Endgame, and Thor: Love and Thunder)
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