Boxing gets boring and a friendship fractures
WIDELY ACCLAIMED for their ability to capture the true essence of their predecessors, the Creed movies had up until now managed the impossible task of breathing new life into the tired old Rocky Balboa saga. With Black Panther director Ryan Coogler at the helm, Creed 1 felt not only fresh and innovative, but also managed to catapult actor Michael B Jordan into genuine Hollywood stardom.
Now back for a third outing and with Jordan this time also acting as director, the franchise now seeks to explore its titular character’s humble beginnings as a troubled LA teen and later pits him against an old rival. Although no longer in the director’s seat, Coogler has also returned as cowriter and producer alongside legendary Rocky star Sylvester Stallone.
Years after his last victory as undisputed heavyweight champion of the world, Adonis
Creed is enjoying a seemingly perfect retirement alongside his musician wife Bianca (Tessa Thompson reprising her role) and their daughter Amara (Mila Davis-Kent). The family’s home life is suddenly thrown into disarray when Dame (Jonathan Majors), one of Adonis’ childhood acquaintances, resurfaces out of the blue.
Newly released after almost two decades in prison, Dame begs for a chance to box again and prove that he still has it. When old rivalries and dark secrets are revealed, Adonis is forced to come out of retirement one last time in order to face his demons and protect his family from his former friend. While nobody can fault Jordan’s direction or his acting talents, the film is unfortunately let down by its dull premise.
Creed 3 feels like a chore to watch. It’s rushed, predictable and not convincing in the least. Sadly all the elements that made the first two films so accessible even for those of us who have little disposition for seeing two grown men hit each other in the face repeatedly for a couple of hours are nowhere to be found here. Which is a real shame.
IN A small rural Belgian town, two 13-year-old boys, Leo (Eden Dambrine) and Remi (Gustav de Waele) are best friends who spend almost every waking hour in each other’s company. With their respective parents’ blessing, the two often sleep at each other’s houses, even sharing the same bed. After a perfect summer spent riding their bikes through sunny fields and helping out on Leo’s family farm, the boys start high school and are placed in the same class. At school, the boys’ friendship is put under scrutiny when a group of girls ask them if they are in a relationship. While Remi is unfazed by these questions, Leo becomes uneasy about people’s perception of him, resulting in him pulling back completely from Remi who struggles to understand what he’s done wrong to be shunned by his best friend.
Director Lukas Dhont and cowriter Angelo Tijssens deliver an impressively unfussy tale of love, rejection and then heartbreaking loss. It’s bolstered by two truly phenomenal central performances. And as we hurtle towards the second act with its inevitable and truly heart-wrenching denouement, tragedy is often foreshadowed by Valentin Hadjadj’s meticulously executed score.
Dambrine and De Waele deliver two beautifully intricate performances in which they convey the complexities of young male friendship. Lea Druker puts in an effectively restrained turn as Leo’s mother.
With a hefty slice of realism and plenty of angst, Close captures every fleeting moment between the two boys with a great deal of tenderness and unassuming sensitivity.
But be warned. Take tissues and prepare to cry your eyes out.