MOVIE REVIEW: Jordan and Majors hit hard in this first post-Stallone Rocky flick.
movie is in some way about redemption and legacy, but the best are the ones that extend a defeat or victory in the ring into a greater notion of self-growth and newfound emotional clarity.
The greatest example of this is obviously the 1976 original, a film hardly about boxing and more about a general search for a spiritual release of greatness amidst an adrift sense of American malaise. Every sequel and spinoff since has generally been increasingly silly, and none quite as good until 2015’s intelligent and exciting.
Adonis’ new struggle comes in the midst of his retirement from boxing via Damian Anderson , a fellow kid in the group home the two occupied where they formed a bond – as close as brothers, as Adonis puts it. But Damian’s seemingly innocuous appearance after years in jail puts Adonis on edge, and bad blood between the two reveals itself as Damian, a former Golden Gloves amateur whose professional ambitions were ended by nearly two decades in jail, demands to challenge for the world championship.
That said, he’s also a great antagonist foil, with Majors continuing to prove why he’s one of our best new stars. There’s tragedy behind his eyes, but he also carries himself with an often grating sense of ego and disrespect for Adonis’ achievements. The friction between the two gives the film a real sense of grounded emotion and makes the climactic and inevitable final fight a rousing and refreshing respite from the typical formula.
It shouldn’t go unmentioned that this is also Jordan’s directorial debut. Working with an established identity for the franchise, he takes the visual cues and personality of the series and works to incorporate his own distinctions and grace notes. I always find these films to be more viscerally effective when engaging with the specific street-level grit of Philly, and in this entry Adonis owns a multimillion-dollar house and is on huge cologne ads in the streets of L.A.
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