Creed II (2018)

Boxing may be the most solitary sport other than tennis (or maybe diving?). In boxing, you minimally have your team in your corner (Serena Williams learned at the last US Open that you you do not have your team in your corner, in spectacular fashion). But otherwise it is just you in the ring dueling your opponent. That's why I find it so curious that boxing movies are traditionally not about solitude but family and relationships.  The hyper masculine topics of boxing and cars (a la Fast and Furious) center around family. And that's what makes them interesting. It humanizes their subjects, the brutish and self-destructive journeymen (think Raging Bull).

Creed II cannot avoid the elephant in the room, that is the iconic status of Rocky. Perhaps no other movie in American history is so emblematic of a city. Without having to properly explain why, the audience inherently understands why Rocky cannot leave Philadelphia. Drago's first stop in the US is naturally the iconic steps at the Philadelphia Museum of Art. The shot opens with the statue, arms raised, and a tracking shot of tourists following Rocky's path running up the steps. The self-reference only works because Rocky has indeed achieved iconic status in our culture.

Creed II was not directed by Ryan Coogler, but Steven Caple Jr. steady hand does a fine job with enough style and pizzazz and tracking shots to satisfy the eyes. Boxing is visceral and we feel that. Our first glimpse of Rocky is through a mirror in a doorway (a frame within a frame within a frame), with Creed on the far right side of the screen. And only when Rocky moves out of the mirror does the camera pan to him. Though the movie can feel predictable at times, it is well done, engaging, emotional and ultimately enjoyable. Michael B. Jordan is electric and Sly in his later life has discovered a penchant for hats. They suit him.