Creed
by George Wolf, MaddWolf.com
When your debut feature film was a powerfully moving achievement that heralded limitless filmmaking potential, what’s your next move?
Yo, Rocky!
Yes, the film is called Creed, but what director/co-writer Ryan Coogler does to an old cinema warhorse is nearly as surprising as the rookie chops he brought to Fruitvale Station in 2013.
We catch up with Rocky living the life of a local legend in his native Philadelphia. He’s away from the fight game, quietly running a restaurant named for his dear departed Adrian, when an impressive young man shows up and starts asking some very pointed questions.
His name is Adonis Creed (Michael B. Jordan), though he’s intent on proving he is more than just Apollo’s son. He’s been training himself, fighting under the radar and out of the country as “Donny Johnson,” but figures now is the time to look up his father’s old friend and make a move toward the big time.
Coogler again shows sharp instincts, keeping Creed subtly rooted in the tradition of its characters while simultaneously taking the entire franchise in a new direction as vital as it is welcome.
Snippets of familiar music, landmarks and training methods are included but not overdone, reminding you that Rocky was a damn good movie, but never spending enough capital to let you forget that was yesterday.
The cliches are here, too. Adonis must declare that he’s “been fighting my whole life,” there’s the obligatory street fight defending a girlfriend (Tessa Thompson) and of course Rocky wants no part of training a young fighter. But miraculously, Coogler is able to make them all feel part of a larger plan, one that is cemented with moments of authentic emotion between the three principal actors.
Jordan, who also broke out with a stupendous performance in Fruitvale Station, finds layers in Adonis, and a drive that reveals without consuming. The kid is a star. Thompson, delivering another winning performance full of easy chemistry, isn’t far behind
And then there’s Stallone, better than he’s been in…well, awhile. Putting aside the lazy crutches (and the Botox), he returns to Rocky Balboa as a man wise enough not to waste this late chance to again be a contender.
The big fight scenes are ridiculously action-packed, sure, but they’re also dynamic, thrilling and as crowd-pleasing as they come. The push over the cliff? Coogler utilizes real anchors from ESPN and HBO more believably than anyone ever has.
Respect where you come from, but build your own legacy.
Creed gets it done.
The Good Dinosaur
by Hope Madden, MaddWolf.com
Is there any name in filmmaking more reliable, any surer bet, than Pixar?
Maybe not.
The Good Dinosaur, as is always the way with a Pixar film, opens with a fascinating short. Longtime Pixar animator Sanjay Patel directs his first effort, and Sanjay’s Super Team defies expectations to tell a lovely, warm story of overcoming father/son barriers and, in doing so, opens larger doors for similar cross-cultural embracing.
The animation giants’ second feature in less than a year takes us back to a magical time when dinosaurs were farmers and cowboys. That meteor? It missed Earth, you see, so this is what might have happened had we evolved right alongside those majestic beasts.
Rather than relying on a star-laden vocal cast (although Jeffrey Wright, Frances McDormand, Steve Zahn, and the unmistakable Sam Elliot do lend their talents), the bulk of the film features – almost solely – the work of 14-year-old Raymond Ochoa.
Ochoa plays Arlo, the runt of the dino litter who needs to battle his own insecurities to find a way to make his mark. He does so with the help of a feral whelp of a human called Spot.
Though the story borrows heavily from The Lion King, first time director Peter Sohn combines hyper-realistic scenery with very cartoony characters in a way that’s surprising and lovely. Punctuated frequently with silly humor, the mostly serious tale does not shy away from darker edges and a real sense of peril, eventually delivering a genuinely emotional punch.
Sohn is even craftier without the aid of dialog, as many of the funniest and most touching moments are delivered in silence or with grunts.
After producing arguably the best film of 2015, Pixar has the bravado to release a second feature this year. I guess when you’re the undisputed king of cartoons, that kind of swagger makes sense. And while The Good Dinosaur is no Inside Out (or Up or Toy Story, for that matter), it’s a worthy entry in their impressive canon.
Brooklyn
by George Wolf, MaddWolf.com
Intimate but universal, heartbreaking but hopeful, Brooklyn is a rich, wonderful tale of a young woman learning about life and love.
In the early 1950s, young Eilis (Saoirse Ronan) lives with her mother and sister in County Wexford, Ireland, but has dreams across the pond. Through connections with a helpful priest in New York , Eilis scores her boat ride, plus a room and a job, too, because, as Father Flood (Jim Broadbent) says, “We need Irish girls in Brooklyn.”
She lands at the boarding house of Mrs. Kehoe (Julie Walters, gleefully stealing scenes) and does her best to take social cues from her older housemates. Nightly dinners become downright hilarious, as Mrs. Kehoe scolds her girls over everything from overall giddiness to discussing “the Lord and stockings” at the dinner table. Priceless.
Suffering through crippling homesickness, Eilis perks up when she meets Tony, a young Italian who eventually takes Eilis home to a pretty funny family dinner of his own. The romance grows serious, but Eilis is called home for a family emergency, begins spending time with proper Irish boy Jim (Domhnall Gleason), and suddenly a choice is in Eilis’s future.
Writer Nick Hornby adapts Colm Toibin’s novel with wit and grace. He’s shown skill with coming-of-age stories before (About a Boy, An Education), but here he seems to relish fleshing out a character who’s taking control of her life in an era when the options for young women were more limited.
Irish director John Crowley (Closed Circuit, Boy A) does some relishing of his own, gorgeously framing his homeland, and then subtly changing color saturation and shot selection to mirror Eilis’s personal journey.
The entire cast gels as a stellar ensemble, but it is the sublime work of Ronan that pierces your heart. A New York native who was raised in Ireland, Ronan embodies Eilis from the inside out, and her character’s growth is never less than authentic and gently touching. Crowley knows it, regularly framing Ronan in picturesque glamour close-ups that his star holds with ease.
A luminous story of love, home, family and commitment that will lift you to another time and place, Brooklyn is a near perfect non-holiday film for the holiday season.
And if you’re Irish?
Well, you may find a new Christmas tradition.
