creed 1 essay

One need not be proficient in " Rocky " lore to appreciate "Creed," but for those who have followed the exploits of Sylvester Stallone 's Philadelphia boxer, Ryan Coogler 's latest film pays unexpectedly rich emotional dividends. "Creed" is so reminiscent of the 1976 film that introduced us to Rocky Balboa that I sense newcomers will fall for "Creed"'s characters the way viewers fell for "Rocky"'s 40 years ago. Though 2006's "Rocky Balboa" was a fitting final chapter for its titular hero, "Creed" finds more of his story to explore. In the process, the film reminds us that, employed by the right director, Sylvester Stallone can be a wonderful actor.

Coogler's story, co-written with Aaron Covington , unabashedly mirrors the arc of the original "Rocky". There's the humble boxer, his mentor and the woman who becomes his significant other and rock of support. There is also the famous boxer who gives our hero the boxing match chance of a lifetime. Armed with these elements, "Creed" then tweaks them, playing on our expectations before occasionally surprising us. It may be easy to predict where the film takes us, but that doesn't reduce the power and enormity of the emotional responses it gets from the audience. This is a crowd-pleaser that takes its time building its character-driven universe. There are as many quietly effective moments as there are stand-up-and-cheer moments, and they're all handled with skill and dexterity on both sides of the camera.

Coogler's direction leaves little doubt that "Creed" is writing a love letter to "Rocky" lore while also establishing an original narrative about its own creation, Adonis Creed ( Michael B. Jordan ). Coogler perfectly captures his intentions in an early conversation between Rocky and Donnie (as Adonis calls himself). Their talk is framed with Stallone and Jordan standing in front of a picture of Rocky and Adonis' late father, Apollo Creed. Coogler fits his actors in the shot so that the background image serves as a flashback and a flash-forward; the screen contains Rocky's past and Apollo's future. Additionally, Stallone's run-down physicality as the older version of Rocky stands in striking contrast to the boxer posing behind him, frozen in time. We're moving forward, but the ghosts of the past are still coming with us.

"Creed" begins with Donnie's past, where young, orphaned Adonis Johnson is visited in juvenile hall by Apollo Creed's widow, Mary Anne (a fiercely maternal Phylicia Rashad ). Mary Anne adopts the young man, a product of an affair Apollo had before he was killed in the ring by Drago in "Rocky IV". Though Mary Anne raises him as her own, Donnie's resentment about being in the shadow of a famous man he never knew nor met grows as he ages. Yet he secretly engages in his father's sport. "Creed" shows Donnie fighting in Mexico before returning to his office job in Los Angeles 12 hours later.

That Donnie has a white-collar job is interesting. It's the opposite of Rocky's blue-collar existence, and it reminded me of a line in the boxing documentary " Champs ," where an interview subject states that " nobody rich ever took up boxing. " Donnie has clearly benefited from the spoils of Apollo's legacy, yet a childhood filled with scrapes with the law and constant fisticuffs leads him to quit his successful job for one where the odds for success are far more limited. Mary Anne points this out in an excellent speech where she details the more unsavory aspects of living with a boxer whose body took so much punishment that he could barely perform simple tasks like walking up stairs or cleaning himself. Donnie hears her, but the clarion call of the ring carries him off to Philly to seek out his Dad's former rival and best friend, Rocky Balboa.

Donnie hopes that Rocky will train him, and sets out to convince the reluctant ex-boxer to do so. But Rocky is simply not interested in becoming a mentor to the up and coming boxer who affectionately calls him "Unc". Rocky's lack of interest remains even after Donnie reveals that he is Apollo Creed's son. To bring new viewers up to speed, Rocky talks about the fight that cost Apollo his life, and how Rocky was in Apollo's corner at the time. To return to the corner, even with a different boxer, is not on his list of things to do, partially out of guilt for Apollo, but mostly out of a general sense of exhaustion. " I already had my time, " he tells Donnie. Of course, Donnie wears him down and, despite some jealousy from a coach at Rocky's late trainer Mickey's old gym (who had hoped Rocky would train his son), Rocky takes on Donnie's mentorship. This eventually leads to an offer to fight Liverpudlian boxing champ Pretty Ricky Conlan ( Tony Bellew ).

In parallel, Donnie also pitches woo to his downstairs neighbor Bianca ( Tessa Thompson ), a hearing-impaired singer and composer whose loud music keeps Donnie from getting the required sleep he needs for his training. Like Rocky's beloved Adrian, Bianca is a fully fleshed out character whose agency is not undermined by her eventual devotion to our hero. Thompson, so good in " Dear White People ", is even better here, singing her own songs and verbally sparring with Jordan as quickly as the real-life boxers he faces throw punches at him. Coogler relishes his love story as much as his action sequences, basking in the glow of their romance. At one point, he employs an upside down shot of the duo, laying side by side and engaging in a quick kiss that's chaste yet sweetly romantic. A later romantic scene is far more passionate, and feels well-earned thanks to the prior one.

"Creed" reminds us that, even at its most absurd, the "Rocky" series has always been about loss. Specifically, how these losses affect the characters and how they grow from them. This is expressed in Bianca's desire to make as much music as possible before her hearing loss becomes total and permanent, but it's also reflected in the character of Rocky himself. The genesis of this film stems from the most absurd of the Rocky movies, yet "Creed" stitches "Rocky IV" and all the other Rocky films into its narrative with surefooted grace. The method to this madness is explained in a haunting, beautiful speech delivered by Stallone, who points out the consequences of his losses, both personal and professional, how alone he is due to the deaths of everyone he has loved, and how he no longer has the will to fight. Beforehand, we see Rocky visiting the graves of Adrian and Paulie (on the latter's tombstone, he places some booze), and the specter of Apollo's death hangs over "Creed". Rocky also tells Donnie that his son has little to do with him.

Rocky's big speech comes after a scene where he gets some bad news (which I'll not spoil). Watch how subtly Stallone plays his reaction—he turns the simple gesture of removing his hat into a powerful lament. Coogler loves the faces of his actors, to the point where he shoots one boxing match as an unbroken take focusing on his boxers' punch-laden mugs. He also gets an achingly beautiful and subtle commentary out of brief shots of young, brown faces looking at and admiring Donnie as he trains. Like Rocky, Donnie may be a hero for all races, but these shots of young Black children add an extra dimension by showing us rare instances of African-American admiration of a hero onscreen.

"Creed" is at its most effective when Coogler's camera stands by, patiently letting his actors connect with us. He favors shots where two actors occupy the screen, taking care to calibrate the space between them. As a result, we become intimately familiar with the lovely young visages of Jordan and Thompson, and the gloriously craggy face of Stallone, whose once equally youthful appearance has grown and aged like the faces of those of us who were present for his first turn as Rocky Balboa. Stallone brings us back to his first, Oscar-nominated turn as Rocky, and his intimate knowledge of his character shines through in every frame. He is really, really good here.

"Creed" gives us a new hero, and Jordan is excellent at portraying him. The star, who worked with Coogler on the superb " Fruitvale Station ," conveys the confusion that many young people have while forging and accepting their identities. The moment he owns up to his heritage is intertwined with the film's rousing, climactic boxing match but does not depend on it as a means of Donnie's acceptance. Coogler is masterful in these shots of sportsmanship, stirring the audience into a frenzy of excitement, and he knows exactly when to shamelessly plug in "Gonna Fly Now." Donnie Creed also gets his own version of Rocky's triumphant Philadelphia Museum stairs run scene, re-imagined here as a street jog surrounded by motorcycles. It's absolutely breathtaking. Note where Coogler places Stallone in this sequence, as it is the most visual representation of what his film is doing with these characters.

Speaking of the Philadelphia Museum, "Creed" ends there with a scene guaranteed to wring a bucket of tears from fans of Rocky Balboa. I wouldn't dream of spoiling the reasons why "Creed" ends here, nor will I say who's in the scene. But I will tell you this: The last shot of this film is a true thing of beauty. This is one of the best films of 2015.

Odie Henderson

Odie "Odienator" Henderson has spent over 33 years working in Information Technology. He runs the blogs Big Media Vandalism and Tales of Odienary Madness. Read his answers to our Movie Love Questionnaire  here .

• Brian Anthony Wilson as James
• Wood Harris as Tony 'Little Duke' Burton
• Ritchie Coster as Pete Sporino
• Michael B. Jordan as Adonis Creed
• Gabe Rosado as Leo 'The Lion' Sporino
• Phylicia Rashād as Mary Anne Creed
• Sylvester Stallone as Rocky Balboa
• Tessa Thompson as Bianca
• Tony Bellew as 'Pretty' Ricky Conlan
• Hans Marrero as Flores
• Jacob 'Stitch' Duran as Stitch
• Graham McTavish as Tommy Holiday
• Malik Bazille as Amir
• Aaron Covington
• Ryan Coogler
• Claudia Castello
• Michael P. Shawver

Cinematographer

• Maryse Alberti
• Sylvester Stallone

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Movie Analysis: “Creed”

Scott Myers

Go Into The Story

This week, we analyzed the movie Creed , screenplay c-written by Ryan Coogler and Aaron Covington, story by Ryan Coogler, based on characters by Sylvester Stallone.

IMDb plot summary: The former World Heavyweight Champion Rocky Balboa serves as a trainer and mentor to Adonis Johnson, the son of his late friend and former rival Apollo Creed.

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The Life Lessons I Learned Watching “Creed”

Creed (noun): A set of beliefs or aims that guide someone’s actions.

When you imagine the old “Rocky” movies, what do you see? Fighting? Love? Determination? Do you even catch yourself remembering how all the odds were against him? Now, let’s say you either have never seen the “Rocky” movies or you have and are thinking of seeing the new “Creed” film opening in theaters this Thanksgiving.

Because the story of Rocky is so prevalent in the life of Apollo Creed, one of the greatest fighters of all time who was also Rocky’s opponent and later, a friend, one would think that the same elements in the movie “Rocky” would be in “Creed.” But this production has much more to offer. This film embodies multiple themes, countless symbols, an accurate depiction of our generation and quotes that will capture your mind. It doesn’t neatly fit into one genre as it has romance, adventure, action, comedy and drama. Although you could have developed an annoyance with “Rocky” because of the countless sequels, this incredible tale of Apollo Creed’s son is nothing like any of the other films in the franchise.

In “Creed,” Adonis Johnson, Apollo Creed’s son who was born after his death, fights more than just boxing matches. He fights himself, his ego, his independence and his trust issues. With this in mind, I can point out three major life lessons you can learn from this movie. Firstly, “Creed” taught me that you have to let go of your past or it will ruin you. Adonis deals with a lot of anger stemming from being raised without a father and he takes it out through fighting, but sometimes he chooses the wrong battles. He ends up pushing away most of the people close to him by refusing to let go of his rage and Rocky Balboa, his new boxing trainer, even tells him “you’re still caught in the shadow.” This scene demonstrates that Adonis is still grappling with his father’s legacy and his own. Rocky desires to communicate to him that he can’t bring his previous way of doing things into the ring. Rocky also runs into issues when he does not let go of his past because of his wife’s death and his son’s distance from him. These influence his decisions, his training Adonis and even lead to him avoiding his obligations at times.

The next lesson is boxing is more than it seems. Rocky teaches Adonis that sometimes old school methods of training are necessary in order to win and even with Rocky dealing with the demons of his own, he is able to treat Adonis as family. A common theme between the old “Rocky” movies and the new “Creed” is perseverance. Adonis could not only have a dream and give up everything to achieve it, but also he has to realize that starting small is what would cause him to prevail. He sees that boxing is not just about the money, but also about having heart and fighting for a purpose. In teaching him, Rocky explains to Adonis, “As long as you’re talking, you’re not listening.”

The last lesson I learned from this movie is that you need family in all your successes. When Adonis reaches out to Rocky Balboa for help, he learns how to take his life by the reins. Biologically, Adonis had no one by his side, but emotionally, he had people invested in him and his gift. This support keeps him grounded as he learns that family makes a person better. Constantly, he has to prove himself to the world and live up to the standards that his father set. Adonis only wants to make a name for himself, but when Bianca, his love interest in the movie urges him to “Use the name, it’s yours,” that sticks with Adonis. Not only does Adonis absorb this lesson, but Rocky does as well. With Rocky’s wife, Adrian now dead, he has a difficult time doing anything that reminds him of his past life. He only knew his life with Adrian in it, but when Adonis come into the picture, Rocky has the opportunity to be the father Adonis never had.

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5 plot point breakdown: creed (2015).

By Anthony Faust · September 24, 2016

Screenplay Genre: Sports Drama

Movie Time: 133 minutes

1. INCITING INCIDENT

Adonis Johnson, the illegitimate son of famous deceased boxing champion Apollo Creed, struggles to reconcile his tough childhood, which was marked by stints in jail and foster homes, with a fledgling career as a boxer. He goes to Philadelphia to meet an aging Rocky Balboa, his father’s friend and former partner. Adonis asks him to be his trainer, but Rocky politely declines. (00:20:30)

2. LOCK IN (End of Act One)

After visiting the grave of Paulie, his wife’s brother, Rocky meets Adonis at the same gym where he trained for his famous championship fights against Apollo. Rocky agrees to train Adonis, telling him that his father was special, but reminding him that Adonis will have to work hard to prove that the “apple didn’t fall far from the tree”.  (00:39:24)

3. FIRST CULMINATION (Midpoint)

Adonis wins his first fight with Rocky as his trainer. His opponent is, Leo “The Lion” Sporino, a local fighter from Philadelphia. After winning the bout with a fierce knockout, Adonis is joined in the ring by Rocky and Bianca, his girlfriend.  (01:00:55)

4. MAIN CULMINATION (End of Act Two)

While Adonis is in his locker room, preparing for his fight with reigning champion “Pretty” Ricky Conlan, his legacy arrives in a box. It’s a gift from his mom, a pair of red, white, and blue boxing shorts just like his father wore in his legendary fights against Rocky.  (01:42:00)

5. THIRD ACT TWIST

For the first time in his career, the heavily favored Conlan is knocked down, the result of a vicious jab thrown by Adonis. It’s a stunning twist in a fight that serves up striking similarities of the first fight between Rocky and Apollo four decades earlier.

The result is the same, a split decision in favor of the champion who stumbles over to Adonis and pays his respect to the young man’s herculean effort.  (02:01:05)

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CREED: An Alleviating Cinematic Achievement

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What a relief Creed is. With a current cinematic landscape dominated by remakes, reboots and sequels, the initial idea of Creed just sounded so unnecessary. A pseudo-combination of a Rocky reboot that is a sequel whilst also working as a remake just felt like something we really didn’t need.

Earlier this year, the commercial juggernaut Jurassic World came out and the same feeling arose. Whilst both franchises were birthed by cinematic classics that led into franchises that had diminishing returns, the way they attempt to insert themselves into the modern cinematic landscape show the difference between successfully delivering what the audience loves and merely pandering for the sake of latching onto nostalgia to make money.

Jurassic World was a complete misfire, a film which seemed ashamed of the films that became before it, using its unofficial mascot (the T-Rex) at the end as fan service so audiences will leave the theatre with a nostalgia-driven whimsical feeling inside, forgetting the incoherent, bloated empty mess that had preceded it. The film’s cynical approach to the previous three films made it seem disrespectful towards the iconic films that Spielberg had made back in the 90’s.

Creed is a film that respects the Rocky franchise, made by someone who seems to have a genuine love for the franchise and understands why people loved the very first film.

The One-Two Punch

Coming off the success of independent hit Fruitvale Station , director Ryan Coogler has taken the reigns of directing Creed , taking over directing duties from John G Avildsen (the first Rocky and Rocky V ) and Sylvester Stallone (the other four) and this is also the first Rocky film not written by Stallone , as the screenplay was scripted by Coogler and newcomer Aaron Covington (a personal friend of Coogler’s ).

Whilst this must’ve been a hard decision for Stallone , to hand over his most important and personal film franchise to a newer, younger director, the gamble has paid off well. Much like the previous film Rocky Balboa , Coogler strips away the excess sentimentality and superficiality that diminished the Rocky sequels and goes for an old-school approach.

The film leans on the original Rocky  quite heavily, with the story beats feeling very similar, evoking the feeling of watching a remake of the original. Luckily the film has enough cinematic techniques and character moments that really gives the film its own identity, jumping out of the shadow of the previous six films, a quite meta statement due to the film’s overall message.

Creed is about Adonis “Donnie” Creed ( Michael B. Jordan ), the accidental son of boxing legend Apollo Creed ( Carl Weathers is frequently seen in archival footage), who sadly never got to meet his father due to his death in the ring (caused by Ivan Drago in Rocky IV ). Growing up being moved around different foster homes and childhood support systems, Donnie is eventually adopted by Mary Anne ( Phylicia Rashād ), Apollo Creed’s wife at the time of his death.

Growing up in a wealthy household (propped up by his late father’s money) and getting a successful, but boring financial job, Donnie has grown up with a built-in fascination with the sport of boxing. One aspect that the film needed to flesh out more is exactly why Donnie has such a passion for boxing, outside for it being his father’s job.

The film starts quite quickly, with Donnie quitting his job, giving us no context as to exactly why he chooses to quit his job so quickly or what internal decisions led up to this. Creed  treats his decision as something that needs to be done quickly and urgently, but contextually within the film there’s no reason for it. Just an extra scene could’ve really established this at the beginning and given us a sense of Donnie living in an environment that makes him unhappy.

Between his boring shifts at work, Donnie attends private boxing matches in Mexico, where he frequently wins against the low-tier fighters. Understanding that he may have a natural talent for the sport, and inspired by his father’s victories, he decides to move to Philadelphia and make a real career in boxing. Needing a push in the right direction, he goes to the man that knew his father the best – Rocky Balboa.

Rocky, still a legend around Philadelphia, still runs Adrian’s Restaurant, but has become sadly alone again due to the death of Paulie between now and the events of Rocky Balboa . Still regularly visiting the gravestones of Adrian and Paulie, Rocky has accepted his life and ready to exit as he’s lost everything that’s been important to him – his friends and family. His son, Robert Balboa ( Milo Ventimiglia ) has moved to Canada, leaving Rocky alone in Philadelphia.

Although initially reluctant to get back into the world of boxing, Donnie’s burning passion for boxing alights the old flame within Rocky, starting a great friendship which propels both of them into the spotlight. Coogler and his cinematographer  Maryse Alberti , inject this story with some original visual flair, combining long unbroken shots (without feeling pretentious), claustrophobic fighting inserts and even little things such as graphics which display character stats when each new boxer is introduced. It’s enough style to make the film feel fresh enough compared to its predecessors.

I’ll Forgive The Boxing Puns

Whilst this film is the potential set-up for a new series of films based on Donnie Creed, this is still a Rocky sequel as well and Stallone returns to the role perfectly. This must’ve been quite a risky endeavour for Stallone – making a Rocky film where he is truly not in control any more, within the film and behind the camera. The film reflects that sentiment though, as whilst Rocky is revered for his past success, age has really hit him and he’s longer the dominant man.

The defining character trait of Rocky Balboa is that whilst accomplishing his dream of being a famous boxer, the great success achieved at the end of Rocky  is not the boxing match, but the fact that Rocky is finally together with Adrian, the love of his life. Their relationship has defined the franchise, as Rocky is quite a loyal, loving character, whose life is twisted by success and the various characters around him. Creed  luckily understands this arc of Rocky’s character, as Rocky is quite a lonely humble man now that he’s alone again. The introduction of Donnie Creed lights that passion inside Rocky again, not because he’s boxing again, but because he’s become a father figure to Donnie, able to be part of a family again.

Stallone plays the role perfectly, reminding us of why he became the blockbuster star he is today. It’s quite understandable to forget why Stallone is such a defining pop culture icon, due to his large quantity of terrible films, including his misguided Expendables franchise, that water down his cinematic successes. Whilst the easy thing to do would be to merely state that Stallone deserves an Oscar nomination because it’s “his time” (the famous example of this is Scorsese winning Best Director for  The Departed ), Stallone totally deserves any upcoming awards attention he’ll definitely receive.

Stallone’s portrayal of a wounded Rocky is quite possibly his rawest performance ever, with a couple of scenes where he’s forced to address his emotions that Stallone absolutely nails, giving one of the most emotional performances on-screen this year. His ability to shift between a conflicted boxing teacher, mournful widower and humble father figure is done with ease, Stallone  shows an ability to diminish his large bulking frame by making us focus on his emotional state.

Apart from Stallone , the full cast is consistently tremendous, with Michael B Jordan solidifying himself as a Hollywood leading man, showing the aggressiveness of Apollo Creed but combining it with the thoughtfulness of Rocky Balboa, a unique mix of the two icons in his life. Earlier this year, Jordan  copped a lot of grief (alongside his co-stars) for the cinematic misfire Fantastic Four , but with this film, he crushes any wrong-doings Fantastic Four might’ve caused.

His love interest in the film, Bianca, played by upcoming actress Tessa Thompson,  does a great job of establishing her own character, injecting Bianca with enough personality that makes her stand out, not merely being another generic love interest. She is a singer with degenerative hearing disorder, meaning that at some point, she will go completely deaf. The parallel in their relationship, both following careers that will ultimately end in tragedy is an interesting dynamic, making their relationship feel genuine, rather than inserted to fulfill mainstream movie demands.

The “antagonist” of the film, ‘Pretty’ Ricky Conlan, the heavyweight champion of the world who Creed is ultimately forced to verse to make his name in the business, is one of the better antagonists in cinema this year. He is played by real-life British boxer  Tony Bellew,  who does a terrific job of translating his real life experiences into the film, feeling like an opponent for Creed who is actually intimidating and can back up his promises. His entrance at the end of the film is outstanding, setting up one of the best final scenes in cinema this year.

If more spinoffs and reboots were like Creed,  I don’t think people would be as cynical about every old property that’s brought back to try and make more money. Whilst Coogler  showed potential with his debut feature Fruitvale Station,  he shows with Creed that he has the chops to have a great career in Hollywood. Between his rhythmic editing and interesting cinematography choices, the film never slows down or feels tired, using the old story beats from the original Rocky as foundations that he has modernized and built upon.

The entire cast, especially Stallone , brings their A-game in a film which could spawn an entirely new franchise, but I’d be perfectly happy if no sequels happened either. It’s quite refreshing to see a mainstream film with established characters that doesn’t feel like it’s constant set-up for an inevitable sequel or something that will spawn tons of merchandise.

The constant theme in Creed  is the fight to create your own legacy, stepping out of the shadows of those people before you. Creed’s fight to make his own name against his father’s massive legacy is a meta-statement on what Coogler tried and achieved successfully – making his own mark against a huge legacy, the immortal Rocky franchise. Don’t be scared people, this one’s one of the good Hollywood films that people complain that they don’t make any more.

Is there any other successful Hollywood spin-off films that you can think of?

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Common Sense Media Review

Feel-good Black-led film continues Rocky saga; has violence.

Parents Need to Know

Parents need to know that Creed is the first movie in the Rocky saga to feature Michael B. Jordan as Apollo Creed's son, Adonis "Donnie" Johnson. With boxing at the story's center, you can expect plenty of scenes with often-brutal fights (body blows, face punches, blood everywhere), plus sad moments…

Why Age 13+?

Pummeling action in the ring (body blows, face punches, sounds of cracking bones

Language includes one "f--k," plus "ass," "s--t," "son of a bitch," the "N" word

One scene shows a couple presumably having sex; viewers see some skin, the back

Labels/brands seen include Nike, Dell, Samsung. There's brief Hershey's and Teca

One character leaves a bottle of liquor to salute a hard-drinking friend who pas

Any Positive Content?

Directed and co-written by Black filmmaker Ryan Coogler, the film features Black

Loyalty has its rewards, especially when it comes to friends who've become like

Rocky may no longer be an unrelenting fighter in the ring, but he's still the sa

Parents need to know that Creed is the first movie in the Rocky saga to feature Michael B. Jordan as Apollo Creed's son, Adonis "Donnie" Johnson. With boxing at the story's center, you can expect plenty of scenes with often-brutal fights (body blows, face punches, blood everywhere), plus sad moments when a main character is diagnosed with cancer. The story is driven forward by a traditional hero's journey, which will likely appeal to teens. There's a romance that includes some kissing and groping (nothing graphic), and you can expect strong language (including "s--t," "oh my God," the "N" word used by a Black character during a fight, and one "f--k"). Directed by Ryan Coogler ( Black Panther ), the film has complex Black characters, though women play a secondary role as emotional supports to male leads.

To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Violence & Scariness

Pummeling action in the ring (body blows, face punches, sounds of cracking bones) can get quite bloody and is painful to watch. One character is shown as a young child dealing with stressful situations with his fists. Lots of trash talk between boxers. A character deals with cancer treatment (sad moments).

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Language includes one "f--k," plus "ass," "s--t," "son of a bitch," the "N" word used by a Black character while fighting, "damn," "hell," "oh my God," and "Jesus" (as an exclamation).

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

One scene shows a couple presumably having sex; viewers see some skin, the back strap of a bra, and kissing. A character briefly picks up a pornographic magazine (naked woman visible but nothing sensitive is shown).

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Products & Purchases

Labels/brands seen include Nike, Dell, Samsung. There's brief Hershey's and Tecate signage, and Breyers ice cream and Oreos sit on a table.

Drinking, Drugs & Smoking

One character leaves a bottle of liquor to salute a hard-drinking friend who passed away long ago.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Diverse Representations

Directed and co-written by Black filmmaker Ryan Coogler, the film features Black (Adonis) and White (Rocky) main characters. Supporting characters of color include Bianca (Tessa Thompson) and Adonis' adoptive mother, Mary Anne (Phylicia Rashad), along with several other Black minor characters (trainers and boxers, Philly residents, etc.). But non-Black depictions can fall into cliches: Early fights in Tijuana look lowbrow and gritty, using the type of yellow color filter that's been overused in Hollywood to convey Mexico as rundown, and there's a glimpse of East Asian tourists who snap photos by the Rocky statue. Women assume stereotypical roles as emotional anchors, sometimes to their own detriment (e.g., Adonis jeopardizes a high-profile gig for performer Bianca by starting a fight), though they do have their own backstories. Bianca has progressive hearing loss and wears a hearing aid -- the narrative is written respectfully.

Did we miss something on diversity? Suggest an update .

Positive Messages

Loyalty has its rewards, especially when it comes to friends who've become like family. And hard work and perseverance will pay off if they come from the right place and with the best intentions. Self-control is an additional theme, though even those who don't demonstrate it are still rewarded.

Positive Role Models

Rocky may no longer be an unrelenting fighter in the ring, but he's still the same generous, big-hearted, and humble guy that he was in the previous movies. Adonis has a chip on his shoulder about being Apollo's son and has demons to silence, but he's well-intentioned, kind, and determined to succeed -- and to work hard to get there.

Where to Watch

Videos and photos.

Parent and Kid Reviews

• Parents Say (13)
• Kids Say (34)

Based on 13 parent reviews

I cried Rocky tears...

What's the story.

Adonis "Donnie" Johnson ( Michael B. Jordan ) never knew his father, boxing legend Apollo CREED; Apollo died before Adonis was born (the boy was the product of an affair). After Donnie bounces around from one group home to another, Apollo's widow ( Phylicia Rashad ) takes him in, providing him with a loving family and the education to pursue what she hopes is a journey different from his father's, who died because of a difficult fight. But Adonis is Apollo's son through and through, and soon the young man, who's boxing under the radar in Mexico, feels called to the ring. He quits his investment banking job and moves to Philadelphia, where he hopes to make a name for himself outside of the Creed legacy and under the tutelage of Apollo's former foe and later friend, Rocky Balboa ( Sylvester Stallone ). But earning his stripes means facing not just other established fighters, but his own demons.

Is It Any Good?

This movie has elements that are terrific, no question, but it disappoints, too. Still, it's well worth seeing, if only to witness how Rocky 's cinematic and boxing legacy continues. First, the good stuff: Decades after the first Rocky hit the big screen, the pull of the franchise endures. When Stallone makes his first appearance, it's hard not to root for him. We've known this character for years, and there's something fundamentally appealing about him.

Adonis, meanwhile, is much more complicated -- though perhaps not as complicated as he deserves. We don't get to know him as deeply as we did Rocky, and therefore we aren't as invested in him as we should be. He comes alive when he's in the ring, as the star of a Rocky movie should (though nostalgia buffs might wish they'd hear more of the iconic theme song), thanks to fight choreography that taps into both the balletic and brutal elements of the punishing sport. But Adonis also needs to be compelling away from the ropes. A hero's journey deserves a hero who's mesmerizing; through no fault of the talented Jordan, Adonis still stands in the shadow of Rocky Balboa.

Talk to Your Kids About ...

Families can talk about how Creed fits into the Rocky legacy. What themes of the previous movies does it also address? How does it depart from its predecessors?

Does the movie glamorize the sport of boxing (and the violence inherent in it) or provide an even-handed view of it? How does this kind of violence compare to what you might see in an action movie? Which has more impact, and why?

Do you consider Rocky a role model? What do Rocky and Adonis bring to each other's lives?

How do the characters in Creed demonstrate perseverance and self-control ? Why are these important character strengths ?

Movie Details

• In theaters : November 25, 2015
• On DVD or streaming : March 1, 2016
• Cast : Michael B. Jordan , Tessa Thompson , Sylvester Stallone
• Director : Ryan Coogler
• Inclusion Information : Black directors, Black actors, Female actors, Latino actors, Black writers
• Studio : Warner Bros.
• Genre : Drama
• Topics : Sports and Martial Arts
• Character Strengths : Perseverance , Self-control
• Run time : 95 minutes
• MPAA rating : PG-13
• MPAA explanation : violence, language and some sensuality
• Awards : Golden Globe - Golden Globe Award Winner , NAACP Image Award - NAACP Image Award Nominee
• Last updated : September 20, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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Review: In ‘Creed,’ Rocky’s Back, as a Mentor, Not a Fighter

• Share full article

By A.O. Scott

• Nov. 24, 2015

At a recent screening of “ Creed ,” as the familiar fanfare of Bill Conti’s beloved “ Rocky ” score signaled the start of the final round of the big fight, the audience burst into spontaneous applause. This was no sneak-preview crowd, primed with free admission and popcorn, but a room full of critics and journalists armored in professional skepticism. A cynic might say that the cheering was a Pavlovian reflex set off by a piece of commercial entertainment in the hands of a skilled, manipulative director. This cynic, however, was too busy choking up and clapping to form the thought.

In 2015, whether by coincidence or by the mysterious movements of the dialectic, a bunch of semi-dormant franchises have come roaring back to pop-cultural life, enrolling legions of new fans and managing both to transcend and to exploit the nostalgia of Gen-X old-timers. There was “ Mad Max: Fury Road ” and then “ Jurassic World .” The next “ Star Wars ” arrives in a few weeks. In the meantime we have “Creed,” which writes another chapter in the saga of Rocky Balboa and which is something that Italian Stallion’s devotees have not seen in a long time, perhaps since the original “Rocky” way back in 1976: a terrific boxing movie.

Anatomy of a Scene | ‘Creed’

Ryan coogler narrates a sequence from “creed,” featuring michael b. jordan and sylvester stallone..

And a great deal more besides. The six Rocky movies before “Creed,” to put it kindly, have had their ups and downs. From humble beginnings (and an improbable best picture Oscar, beating out “All the President’s Men,” “Network” and “Taxi Driver” ), the series rose in the 1980s to heights of grandiosity and preposterousness before stumbling into irrelevance. But don’t call “Creed” a comeback. After the folly of “ Rocky Balboa ,” the former champ is out of the ring for good. He’s taken up the role, essential to the genre, of the gruff, grizzled trainer. And Sylvester Stallone, while happy to steal a scene every now and then, cedes the limelight to Michael B. Jordan.

Mr. Jordan plays a talented light-heavyweight whose rapid ascent in the sport is fueled by an identity crisis. Even his name is in question. The love child of Apollo Creed, Rocky’s erstwhile nemesis and eventual best friend, the young man is unsure whether to embrace or spurn the legacy of a father he never knew. He calls himself Adonis (or sometimes Donnie) Johnson, and his background is a complicated tangle of deprivation and privilege. He grew up in foster homes and juvenile detention centers before being adopted by Apollo’s widow, Mary Anne (Phylicia Rashad), who raised him in Los Angeles opulence and kept him away from the boxing ring.

‘Rocky’ and ‘Creed’: a Critical Comparison

A look at what Times critics had to say about the original “Rocky” (1976), and the new “Creed,” the latest entry in the franchise.

But of course you can’t take the fight out of the boy. Although Adonis is unbeaten in a string of semi-clandestine bouts in Mexico, he is turned away from his father’s former gym. No one in Los Angeles will go against Mary Anne’s wishes and allow her adopted son to participate in the sport that killed her husband. What else can Adonis do? He travels to Philadelphia, where Rocky (Mr. Stallone, as if that needed saying) is running a restaurant and keeping a low profile. He’s all done with boxing, but Adonis persuades him to give it one more try. They start training, and before long a shot at the title materializes, a classic mismatch with a British brawler named Ricky Conlan ( Tony Bellew ) . Like Rocky himself almost 40 years earlier, Adonis is a designated tomato can for a superior fighter.

And like Rocky, Adonis falls for a lovely Philadelphian, a musician named Bianca (Tessa Thompson), who schools him in the local cuisine and the local slang. (“What’s a jawn ?” he asks her over cheese steaks.) She teases him for having a white uncle (Adonis’s nickname for Rocky is Unk) and gets mad when she finds out that Adonis has been hiding the truth about his pedigree.

A boxing movie without clichés is like a political campaign without lies. “Creed,” directed by Ryan Coogler from a script he wrote with Aaron Covington, is self-aware without being cute about it. In the movie as in the world beyond it, Rocky is part of the cultural tapestry. Everyone in Philadelphia knows him. There’s even a statue ! But Mr. Coogler, a 29-year-old filmmaker whose debut was “Fruitvale Station” (also starring Mr. Jordan), looks at the Rocky story and the tradition of Hollywood pugilism through a fresh prism.

“Rocky” was the story of a Great White Hope, and also a fable for an era of racial backlash. Apollo Creed, played by Carl Weathers, was the heavy in that movie, and Rocky was the noble underdog. Later, they set aside their differences and faced a common Soviet enemy as the series turned its attention to Cold War geopolitics. By then, Apollo was the sidekick and the sacrificial friend, an injustice that “Creed,” by its very title, seeks to redress.

Movie Review: ‘Creed’

The times critic a. o. scott reviews “creed.”.

The movie is also a Hollywood rarity: a boxing movie with a black hero. It is bizarre — though hardly surprising — that a sport dominated for decades by African-American and Latino athletes looks more like ice hockey on screen. And “Creed,” like “Fruitvale Station,” embeds its drama in the perils and pleasures of black life in America. Adonis is a complex character with a complex fate. He is at once a rich kid and a street kid, the proud carrier of an illustrious heritage and an invisible man.

His relationship with Rocky is complicated, too. The older fighter is a mentor and a father figure, to be sure, but he also needs someone to take care of him, especially when illness adds a melodramatic twist to the plot. Rocky has reconciled himself to loss. The people he loved — Paulie, Mickey, Creed and Adrian — are all gone.

It’s too simple to say that Adonis teaches him to care again. One of the most surprising things about “Creed” is how gentle and easygoing it is, notwithstanding the effective brutality of the fight scenes. It is a pleasure to watch Mr. Stallone amble through a movie with nothing much to prove. He is at his best when he works comfortably within his limitations as an actor. Mr. Jordan’s limitations, in contrast, have yet to be discovered. With every role, he seems to delight in the unfolding of his talent, and to pass his excitement along to the audience.

Which partly explains the applause that is likely to echo through multiplexes this Thanksgiving. “Creed” is a dandy piece of entertainment, soothingly old-fashioned and bracingly up-to-date. The punches fly, the music soars (hip-hop along with Ludwig Goransson’s variations on the old Bill Conti brass) and the ground is prepared for “Creed II.” We’ll see how that goes. But for now it is sweet to have this lesson in the importance of fast footwork, brute power and brotherly love.

“Creed” is rated PG-13 (Parents strongly cautioned). (Literal) blood, (metaphorical) guts and (discreet) sex. Running time: 2 hours 13 minutes.

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