Film Talk: Latest Movie Releases – Third round for Creed hoping to pack a punch

From the celebrated franchise that immortalised Sly Stallone’s Rocky Balboa, to the magnificent Million Dollar Baby, the raucous Raging Bull, and phenomenal biopic The Fighter, boxing rings have served as the canvas for some of modern cinema’s greatest stories.

When it comes to the shining star of this one however, I have to confess that I was late to the party.

My first experience of Michael B Jordan was with 2018’s Black Panther, which hit the silver screen three years after the first Creed movie. In said comic-book yarn, Jordan stars as supervillain Erik Killmonger – one of the Marvel Cinematic Universe’s most complex and compelling antagonists. Black Panther will always belong to its lead star, the late Chadwick Boseman, yet here, the depth of Jordan’s talent was also allowed to shine. Without question, this guy was one to watch.

Naturally, I went back and gave Creed a go (thrilled at the prospect of another round in the Rocky-verse) and was impressed with yet another captivating turn from Mr Mickey-B. 2018’s Creed II followed suit, and for five years now I’ve been impatiently waiting for the bell to ring again.

Finally – and also in his directorial debut – Jordan is putting the gloves back on and is ready to sate the hunger of the masses.

With Jonathan Majors also jumping into the ring, Creed III sees the boys behind two Marvel baddies thrash it out. But does this one pack the punch of its predecessors, or fall flat in the first round? Let’s get ready to rumble...

CREED III (12A, 116 mins)

Released: March 3 (UK & Ireland)

If actor Michael B Jordan’s directorial debut was a prize fighter, he would be confident, nimble, ambitious and quietly menacing but a tad heavy-handed with his final touches.

Written by Keenan Coogler and Zach Baylin, Creed III pretends to brawl to a different beat than its predecessors, which pitted prodigal son Adonis Creed (Jordan) against superior competition inside the boxing ring and found a way for the emotionally scarred underdog to emerge victorious.

Bone-crunching body shots and uppercuts are the least interesting facet of the third chapter of the franchise.

The script still orchestrates a high-stakes championship showdown for its crescendo but daring artistic choices during the final bout interrupt dramatic momentum and deliver the least thrilling resolution of the sweat-drenched trilogy.

Greater narrative focus is placed on bonds between blood brothers here and Jonathan Majors – currently terrorising the Marvel Cinematic Universe as Kang the Conqueror – delivers a beautifully layered performance as a childhood friend who cunningly guilt-trips Creed into giving him a shot at a boxing title then bullishly takes full advantage once the gloves are on.

Screen rivalry with Jordan simmers and verbal exchanges between the pair pack as much force as the slickly choreographed fight sequences, which result in dislodged teeth, swollen eyes and badly bruised egos. One emotionally manipulative interlude, telegraphed in advance, crudely provides dramatic impetus for characters to exorcise their demons and resolve differences in the usual fashion: with their fists.

Adonis Creed (Jordan) retires from boxing as the undisputed heavyweight champion of the world to devote more time to his musician wife Bianca (Tessa Thompson) and their daughter Amara (Mila Davis-Kent).

“I left boxing but boxing didn’t leave me,” he professes and Creed invests heavily in a gym to unearth the next generation of raw talent.

This dedication to the sport, spearheaded by no-nonsense trainer Duke (Wood Harris), propels fighter Felix Chavez (Jose Benavidez) to the top of his class and a televised title defence against Viktor Drago (Florian Munteanu).

Childhood friend Damian Anderson (Majors) resurfaces after an 18-year stint behind bars and Creed’s carefully ordered world fractures.

Duke spots the warning signs and urges Creed to be wary of Damian – “He’s telling you who he is. Believe him!” – but almost 20 years of deep-rooted guilt cloud the former champion’s judgment.

To settle an old score, Creed may have to step back into the ring but he is out of shape and nursing injuries.

Creed III is a slugfest between the title character and his turbulent past and Jordan excels, behind and in front of the camera.

The script grinds out a satisfying spectacle over 12 rounds of male posturing and predictability, powered by muscular central performances. Although it fails to land a knockout blow, Jordan’s picture comes out swinging.

CLOSE (12A, 104 mins)

Released: March 3 (UK & Ireland, selected cinemas)

A seemingly unbreakable friendship between two boys shows signs of fatigue in a tender drama directed by Lukas Dhont, which is nominated as Best International Feature Film at this year’s Academy Awards.

Leo (Eden Dambrine) and Remi (Gustav De Waele) are both 13 years old and completely inseparable, as close as blood brothers.

As the start of a new school year beckons, the boys are unprepared for the intense pressures of burgeoning adolescence and the impact this will have on their fraternal bond.

Emotions spiral out of control and there are unexpected and far-reaching consequences for Leo, Remi and their respective families.

FASHION REIMAGINED (12A, 100 mins)

Released: March 3 (UK & Ireland, selected cinemas)

Sustainability has become a buzzword for a fashion industry that is always looking for the next big thing.

Documentary filmmaker Becky Hutner spends three years in the company of fashion designer Amy Powney of label Mother of Pearl as she seeks to create a genuinely sustainable clothing collection from the fields where raw materials are harvested to the finished garment.

Drawing inspiration from her activist parents, Powney uses prize money from winning the Vogue award for the Best Young Designer of the Year to explore the devastating environmental impact of her industry.

I’M FINE (THANKS FOR ASKING) (15, 86 mins)

Released: March 3 (UK & Ireland, selected cinemas)

Conceived during lockdown by writer/directors Kelley Kali and Angelique Molina and co-writer Roma Kong, who had wanted to make a film together since graduating from USC School of Cinematic Arts, I’m Fine (Thanks For Asking) explores the issue of homelessness in present day America through the eyes of a resourceful single mother.

Recently widowed hairdresser Danny (Kali) loses her home in southern California but softens the blow for her eight-year-old daughter Wes (Wesley Moss) by pretending they are going to be camping outdoors for fun.

Danny intends to work hard to get them off the streets but weeks in the sweltering heat take a toll on the relationship between mother and daughter.

In desperation, Danny promises Wes they will go home to an apartment by the end of the day. With roller skates as her only means of transportation around the sun-baked city, the hairdresser slaloms through a series of mishaps that threaten to derail her plans.

ELECTRIC MALADY (12A, 81 mins)

Released: March 3 (UK & Ireland, selected cinemas)

In 1996, the World Health Organisation (WHO) established the International Electromagnetic Fields (EMF) Project to assess scientific evidence of possible adverse health effects from electromagnetic fields.

Filmmaker Marie Liden has first-hand experience of a sensitivity to electromagnetic fields and radiation from electrical devices and mobile phones.

At eight years old, her family removed TV and music devices from their home and limited electricity, using oil lamps and candles for lighting.

In her documentary Electric Malady, Liden meets William, who has retreated from society for over a decade and lives alone in a remote cottage under layers of protective fabric which give him the appearance of a ghost.

William’s loved ones are devoted to finding a way to save their son.

The film explores the devastating impact of electromagnetic hypersensitivity on one family, intercut with excerpts from William’s private video diaries and home movies.