Creed III

Director: Michael B. Jordan
Starring: Michael B. Jordan, Tessa Thompson, Jonathan Majors, Wood Harris, Thaddeus J. Mixon, Spence Moore II, Mila Davis-Kent, Florian Munteanu, Phylicia Rashad, José Benavidez Jr., Selenis Leyva, Anthony Bellew
Running Time: 116 min.
Rating: PG-13

★★★ (out of ★★★★)

Now seemingly even further removed from its Rocky origins, Creed III contains something few films in either series had: a supervillain origin story. Making his directorial debut, star Michael B. Jordan asks the audience to consider what kind of movie we'd have if the 1977 original focused entirely on Apollo rather than Rocky, or maybe even if the fourth was instead titled "Drago." While both those memorable antagonists were far from afterthoughts, Stallone's underdog role always served as the driving narrative force. And that successful formula would be reinvented in this series with Apollo's son, Adonis Creed, who had to fight from the bottom up to prove himself. Two films in, he's done that, so it's as good a time as any to cut ties and try something new. 

A similar blueprint remains, but gone is Stallone (who's still credited as a producer) and Bill Conti's rousing "Gonna Fly Now" Rocky theme. Neither absence is surprising since they're not all that necessary in fleshing out a story with different stakes. A film anchored by Apollo's adversary should be a misalignment of priorities, if not for the fact that their backstories are so intertwined and far more complex than we're used to seeing in the franchise. This time the villain's the underdog, and for a while you understand where he's coming from, making his reemergence especially problematic for a hardly blameless Donnie. It's not just a matter of when we get to this ultimate confrontation between two former friends with a messy, violent past, but how.

It's 2002 Los Angeles when a young Adonis Creed sneaks out with his older best friend, amateur boxing prodigy and Golden Gloves champion Damian "Diamond Dame" Anderson to a match that Damian wins. But later, when Donnie attacks a man in a liquor store altercation and escapes while Dame's arrested, their lives take very different paths. We cut to the present, with Donnie (Jordan) retired from boxing, instead focusing on wife Bianca (Tessa Thompson), their hearing-impaired daughter Amara (Mila Davis-Kent) and his adopted mother Mary-Anne's (Phylicia Rashad) declining health. 

Donnie's promoting his boxing academy protégé Felix Chavez (José Benavidez Jr.) for an upcoming world title defense against Viktor Drago (Florian Munteanu) when he receives a shocking visit from Dame. Released from prison after twenty years, he's seeking help from his childhood friend in resuming his boxing career. After reluctantly agreeing to let Dame train at his gym, it soon becomes apparent his intentions aren't what they appear. Angry, jealous and believing Donnie's enjoying the life he should have, he's back for the title and respect, and won't hesitate running through anyone in his way to get it.

Seeing a retired Donnie in promoter mode is a reminder of just how far we've gotten in the series, as he seems content having passed the torch, thriving comfortably in his new role. What works best about this setup is how the events of the preceding films almost feel as if they occurred centuries ago because he's at such a different stage now. While far from old, his fighting days are behind him and he's settled into a new career as trainer, business owner and ambassador for the sport. If Donnie has any itch to get back in the ring, he's not showing it, which makes Dame's return more impactful, dredging up one of the most emotionally painful moments of his life. And for a story that was essentially cooked up on the fly and never previously acknowledged, it's compelling. 

Donnie knows the friend he loved as a brother spent most of his life in jail because of him, with Jordan subtly conveying this burden he's carried while rising to the top of the boxing world. It retroactively adds another dimension to our protagonist, perhaps partially explaining where all that drive and determination came from. Despite reaching the pinnacle, it's entirely possible he's always secretly seen himself as a fraud and not deserving enough. Dame knows he should be Donnie, and based on what we're shown, it's easy to believe he's right. 

If Dame got a raw deal, his monstrous actions soon cause our sympathies to waver, as he uses Donnie's guilt and generosity to his advantage, all while resisting the notion he's interested in taking any handouts. Dame knows exactly how to get to him and Majors takes us on a ride with his slow-burning turn, brilliantly playing both side of the fence before exposing the character as the dangerous threat he is. 

Simmering with rage and carrying giant chip on his shoulder, Dame knows the clock's running out, with Majors believably transferring the ex-con's most vicious traits to the ring. With moves that sometimes more closely resemble a street brawler than former boxer, there's an undeniable physical transformation, but not an entirely unrealistic one, as he climbs back to fighting form. Everything about this guy is scary, especially how he propels out of the corner at the start of each round, nearly dancing in the face of his prey before preparing to pounce. 

Reopening a painful chapter he thought was closed causes Donnie to completely shut down, straining his relationship with Bianca, who hadn't a clue about this part of his past. He's also in no hurry to tell her, even as his ailing mother Mary-Anne knows the history all too well, harboring strong opinions about what he should do. The big fight sneaks up on you in terms of how fast we get there, but all the groundwork's been laid, with Donnie realizing only one thing can settle this for good. 

Jordan makes some inspired directorial choices in the final match that lift it to another level, particularly a dreamlike sequence that visually hammers home just how personal this feud is. Even then, the film doesn't take the easy way out, reminding us this isn't a battle of good and evil. Mistakes were made, choices dictated their paths and a confluence of unpredictable events led them here. Regardless of its eventual outcome, the fight was always inevitable, as both men desperately need this to shed their pasts and move forward.

Some of the usual franchise tropes are still prevalent, but the core story and performances carry it through. Keenan Coogler and Zach Baylin's script skillfully create this antagonist from the ground up, but it's Major's charismatic work that makes him incomparable to any final boss since Apollo or Drago. Knowing the series inside out, Jordan invisibly takes the directing reins from Ryan Coogler with no noticeable dip in quality, nearly equaling the first film while surpassing its unspectacular 2018 sequel. You could even argue he does certain things better, building a relationship complicated enough that when it's time for the champ to put back on the gloves, we're all in.                            

Creed II

Director: Steven Caple Jr.
Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Dolph Lundgren, Florian "Big Nasty" Munteanu, Phylicia Rashad, Wood Harris, Andre Ward, Brigitte Nielsen, Milo Ventimiglia, Russell Hornsby
Running Time: 130 min.
Rating: PG-13

★★★ (out of ★★★★)
 
When Ryan Coogler's Creed was released in 2015, it was just the shot of adrenaline the ailing Rocky franchise needed, yielding results even better than anyone expected. Just the very idea to center the film around Apollo Creed's son and have him trained by his late father's friend and foe Rocky Balboa was inspired. Casting Michael B. Jordan as the lead opposite Sylvester Stallone was ingenious. It presented all these new, exciting possibilities, and more amazingly, followed through on them, erasing memories of the inferior sequels that brought shame and even occasional embarrassment to the series. More importantly, Creed didn't feel like a Rocky film, and yet in many ways when it mattered most, it did, reconnecting us to what we loved most about these movies and bringing a sense of renewed purpose to Stallone's role. His Best Supporting Actor Oscar nomination, and the deflated looks of disappointment we saw in that room when he lost, stands as proof.

The justifiable acclaim only solidified the inevitability of sequels, and with that would always come the risk that the franchise could settle back into its predictable rhythm. So when Coogler bowed out of this to make a little movie with Jordan called Black Panther, it seemed our worst suspicions that the series would host a revolving door of directors lacking a distinct vision, were about to be confirmed. But with the foundation already laid, Steven Caple Jr.'s Creed II successfully picks up where we left off, and while it does follow a familar formula and lacks some of the previous film's freshness and energy, it's a worthy successor.

In again drawing heavily from the Rocky legacy (this time Rocky IV) to jumpstart a new story, it's at least one worth telling, featuring a villainous return fans of the franchise can legitimately claim they've waited decades for. Despite good reason for concern moving forward, this one works because the personal nature of the story and a continued emphasis on the relationship between the main characters that's been carried over from the first entry.

Three years after his loss to "Pretty" Ricky Conlan, Adonis Creed (Jordan) has amassed enough victories to earn a shot at the WBC World Heavyweight Championship, which he wins from Danny "Stuntman" Wheeler. On top of the boxing world and a major star, Adonis proposes to girlfriend Bianca Taylor (Tessa Thompson) who agrees to marry him while suggesting they move out to the West Coast  to start their new lives together. Hesitant to leave his hometown of Philadelphia, as well his trainer and mentor Rocky Balboa (Stallone), Adonis has a ferocious new challenger looking for a shot in Viktor Drago (Florian "Big Nasty" Munteanu).

Viktor's been trained and groomed from an early age as a fighting machine by his father, Ivan Drago (Dolph Lundgren), who killed Adonis' dad, Apollo Creed, in the ring over thirty years earlier before being defeated by Rocky in Moscow. Disgraced by his home country in the years since that humiliating defeat, Ivan hopes that through Viktor he can earn some measure of redemption, and even possibly some respect from well-off ex-wife Ludmilla (Brigitte Nielsen). But Adonis' reasons for taking the fight is what worries Rocky, Bianca and his stepmother and Apollo's widow, Mary Anne (Phylicia Rashad). With the self-imposed pressure of  avenging his father's death, Adonis enters the ring with one thing in mind: revenge. And Viktor smells blood. 

It's probably not a good sign for the protagonist that the "big fight" around which the entire axis of this installment revolves occurs within the first 45 minutes of the picture. The build-up to it is quite impressive as the screenplay makes a legitimate case that Adonis could get killed in the ring just as his father did, only this time at the hands of the younger Drago. It also helps that there's an over thirty year backstory to draw from that comes from one of the more beloved entries in the series. If not neccessarily a great film, Rocky IV is nothing if not memorably entertaining due to the presence of a larger-than-life, almost cartoonish adversary in Ivan Drago, so it makes perfect sense to try to recapture that magic for the first Creed sequel.

As a character, Drago's son, like many of the opponents in adversaries in both franchises is kind of a wet blanket, but at least he's given a purpose through his father's quest for redemption. And similarly to how we were treated to a really compelling "where are they now?" in last year's Karate Kid sequel series, it's great to see Lundgren return to the role that made him. Playing Drago as a bitter, pitiable man living through his adult son, he's still somehow reeeling from the loss dealt to him by Rocky all these years later, and that feels just about right.  But as well developed as the villainous side of the equation is, the movie's bread is still buttered with the internal struggle of Adonis reconciling his father's death and finding out who he is the hard way.

It's not a spoiler to reveal his title defense against Viktor is a disaster that breaks him mentally and physically, challenging not only his will to continue boxing, but the important relationships in his life as well. While his bond with Bianca (Thompson, great again) faces some serious obstacles accompanied by euphoric highs, it's his friendship with Rocky that's most tested. He doesn't want his protege fighting this guy for glaringly obvious reasons, but an added element is that he doesn't believe Adonis' head is in the right place. It'll be up to both of them to get it there. Ironically enough, the movie soars highest when entering familar fomulaic territory, leaning into the franchise tenants of training montages and personal redemption. One advanatge the Creed films undoubtedly have over what came before it is the realism and authenticity of the boxing scenes, which are electrifyingly staged and suprisingly suspenseful, especially considering both fight outcomes in this aren't exactly in doubt.

Against all better judgment, we're hooked, mainly because the dynamic Michael B. Jordan has taken us on a journey with this character, infusing Adonis with a determination, anger and sensitivity that matches, if not surpasses, anything we've previously seen in the Rocky films. When his body and spirit are seemingly shattered, it's Stallone's character who continues to be properly positioned opposite him, playing on all the strengths he brought as a lead, but in a more appropriate supporting role that reminds us how formidable a presence he can be on screen. While not exactly surprises, brief but impactful appearances by Nielsen and Milo Ventimiglia as Rocky's estranged son Robert are seamlessly incorporated, the latter benefitting from being a bigger star now than when he appeared in the forgettable slog that was 2006's Rocky Balboa.

Making his feature directorial debut, Steven Caple Jr. deserves credit for not only avoiding to screw up a good thing, but doing right by these characters and the series, which now seems poised for yet another outing. But any Creed sequel, while completely expected, was still far from a guarantee to work. While no real risks are taken and Caple plays it as safe as possible within the confines of a very predictable formula, that was undeniably the right route to take here. If we get another film that shakes out identically to these first two, then we can start talking about the possibility of audiences tiring of it and re-experiencing the fatigue associated with the Rocky series. Until then it's best to enjoy the ride since Creed II has very little worth complaining about, delivering more than enough to please both casual and diehard fans alike.       

Creed

Director: Ryan Coogler
Starring: Michael B. Jordan, Sylvester Stallone, Tessa Thompson, Phylicia Rashad, Tony Bellew, Graham McTavish, Wood Harris, Andre Ward, Gabriel Rosado, Ritchie Coster
Running Time: 133 min.
Rating: PG-13

★★★ ½ (out of ★★★★)

If it's true that everything starts with an idea, it helps to have a really good one and the ability to deliver on it. I'd imagine director/co-writer Ryan Coogler's pitch of a new Rocky film was initially met with a skeptical eye roll from both studio executives and maybe even a few of the actors he approached to be a part of it. And given the state of the franchise after some underwhelming sequels and a disappointing 2006 curtain call, it's hard to blame them. Despite not counting myself a huge fan of the original and among those frequently questioning its 1977 Best Picture victory in a highly competitive year, even I'd have trouble denying its cultural impact. It's one of the few Oscar winners still remembered and talked about to this day, regardless of the extent to which its sequels somewhat tarnished its legacy.

Anyone looking to recapture the feelings of goodwill that first film generated in so many you'd need a really strong narrative hook. With Creed, Coogler finds it. And in doing so he makes the ultimate Rocky movie and the one everyone's been waiting for without knowing they wanted it. In the most purely honest way possible, he tricks us into watching another entry by not making one. It isn't until the last scene that you realize what happened, and by the point, you're at too much of an emotional high to get hung up on it. By their very nature, sports movies follow a certain formula, but in the best ones there's this magic that takes place that transports audiences and makes them forget, even as the script and its characters sink deeply into it. Formulas do exist for a reason, but a good director, like a magician, never reveals his tricks. In Creed, all the wheels are turning but we're never consciously aware of the machinations.

Cleverly, the sequel/spin-off is jump-started with one question: What about Apollo Creed? We know Rocky's opponent, friend and mentor (played by Carl Weathers) died in the ring, but he left someone behind. A son from an extramarital affair named Adonis "Donnie" Johnson (Michael B. Jordan), who's been fighting and starting trouble since his days at a youth detention facility in the late 90's. It wasn't until Apollo's widow, Mary Anne (Phylicia Rashad) took him in that he started to have anything resembling a normal upbringing. Fifteen years later, he's on the fast track to a promotion at a Los Angeles-based financial firm, even as something eats away at him. He goes down to Tijuana on the weekends to box, demonstrating the burning desire to fight that's persisted since childhood.

After being rejected at his father's gym, he quits his job and heads to Philadelphia, landing at the doorstep of Adrian's restaurant and in front of the only man he knows can train him: His dad's opponent, friend and mentor, Rocky Balboa (Sylvester Stallone). Initially reluctant, Rocky agrees, but when word gets out that Donnie is Creed's son, the marketing potential of that teaming can't be ignored, so despite being nowhere near ready, Donnie must prepare for the fight of his life against the world lightweight champion, "Pretty" Ricky Conlon (Tony Bellew), an intimidating British brute preparing for a retirement bout before he heads to prison. And in doing this, Donnie must not only come to terms with taking on his late father's name, but do justice to his legacy even as he struggles with his own.

All this manages to work so well due to a series of creative decisions made by Coogler that are played to perfection, each piece of the puzzle organically falling into place to create a maximum entertainment experience from start to finish. It isn't much of a stretch to buy that Apollo Creed has an illegitimate son who felt abandoned, or that he'd harbor much of the rage his father did, not to mention many of his fighting skills. And it's even less of one to believe that the emotionally beat down Rocky we see here (an incarnation that's a far cry from any previous outing) wouldn't want to be near the ring again in any capacity, either as a cornerman or trainer because of what it dredges up. But we also know that he can't resist and as much as the underdog story parallels that of the original, it's surprising just how different it feels in both tone and execution, shot and edited to more closely resemble something grittier, like Southpaw or The Fighter. And Ludwig Göransson's soundtrack effectively pays tribute to pieces of Bill Conti's original score without attempting to slavishly mimic or overuse it.

There's an urgency here that went missing through most of the sequels and a familiarity in also acknowledging their purposeful existence in getting the characters to this point, most of whom we're meeting for the first time. The result feels new and fresh, releasing the franchise of the baggage and stigma that's weighed it down over the past couple of decades. This is the mentor role Stallone should have probably played already, but feels strangely even more appropriate now because he's at the stage of his life and career where he's caught up to us, and feels ready. In a way, it's similar to Mickey Rourke's role in The Wrestler in how it works on this meta level that almost makes it impossible to separate the role from what we know about the actor playing it. He's not at all "playing himself" but rather using his and the character's rich history to create this whole other layer from which he draws from to create this deep performance, his strongest and quietest dramatic turn since Copland.

When a development occurs that turns Rocky's world inside-out it should feel manipulative, but doesn't because Coogler and co-writer Aaron Covington understand that this is the natural progression for a lonely guy who's world really ended when Adrian died. Much like the series itself, he was just going through the motions. Training Donnie briefly alleviates that and Stallone's scenes opposite the perfectly cast Jordan are magnificent, recalling not only the best training sequences from the Rocky films, but some of the more memorable mentoring relationships captured on film, like that in The Karate Kid.

Previously working with Coogler when he played shooting victim Oscar Grant in 2013's Fruitvale Station, Jordan gave a superb performance in service of a film that didn't completely return the favor. With it came the responsibility of playing a real-life figure whose death ignited a firestorm of controversy. Here, he's shouldering a different kind of responsibility, and as the centerpiece and driving force behind an iconic franchise, he's the new Rocky. Or more accurately, the first Adonis Creed, with Jordan drawing on his own physical preparation for the role and natural charisma and intensity. He leaves little doubt Adonis is very much his father's son, and it's only when he comes around to fully accepting that, will he be able to step out from behind his shadow.

But his trajectory does seem to mirror Rocky's more than his dad's with not only his untrained underdog status as a fighter, but burgeoning relationship with Bianca (Tessa Thompson), a hearing impaired musician in his building whom he starts to date. Even this is handled exceptionally well, as intrinsically weaved into the plot as Rocky's romance with Adrian. It helps that the completely engaging and likable Thompson shines in every scene she's given, sharing excellent chemistry with her co-star. It's kind of one of those happy surprises that this turns out as well as it does, while also managing to be subtly touching at times, never forcing the issue. Just two great actors doing their thing.

For the first time in a while it feels like we're building to a fight worthy of the hype it's gotten through faux HBO video packages cleverly interspersed into the film, raising the stakes much higher than they've been in the franchise's recent history. Creed's opponent is a monster who carries himself like a serial killer and has about ten times the experience, practically mirroring Balboa's predicament in the original. With an outcome that's legitimately in doubt, the final fight is masterfully filmed and edited, giving us room to breathe and take in the action, showing just how far the staging of these sequences have come since the worst of the previous installments. Everything about this carries a "big fight" feel, and the result is the right one, despite my worries of its implications for the franchise moving forward.

As much as I care what happens to these characters, I'm still hesitant in wanting more. While I loved what we got, and maybe even prefer it to the original in many ways, part of me wishes they'd stop here before it's too late. We all know that won't happen as long as there's money to be made, but the last thing we need is a succession of inferior sequels made by rotating directors that devalue the achievement of Coogler and his talented cast. But who knows? Maybe it's possible to craft a worthy Creed follow-up if everyone's on the same page. But it'll be tough to top the rush you get here when the Rocky theme swells up at just the right moment, knowing it's being played again in a movie that's truly earned it.

Selma

Director: Ava DuVernay
Starring: David Oyelowo, Tom Wilkinson, Tim Roth, Common, Ruben Santiago-Hudson, Carmen Ejogo, Lorraine Toussaint, Oprah Winfrey, Cuba Gooding Jr., Giovanni Ribisi, Keith Stanfield, Tessa Thompson, Wendell Pierce, Jeremy Strong
Running Time: 127 min.
Rating: R

★★★ (out of ★★★★)  

One of the biggest obstacles in bringing any part of Martin Luther King, Jr.'s life to the screen is that there's simply no guidepost other than history itself. Despite or maybe because of his monumental importance and cultural significance, we can't point to any contemporary film that's attempted to give us a thorough treatment of the man or what he stood for and few actors have tackled the role on a grand scale, which is probably for the best since it's a no-win situation. With Selma, director Ava DuVernay attempts what probably shouldn't be done, but takes the wisest route possible by zeroing in on a specific point in King's life to tell a larger story. One that's shamefully ingrained into the fabric of this country whether we like it or not.

There's an even bigger challenge in not turning the story into a history lesson or homework assignment that checks the boxes on certain key events with which we're already familiar. DuVernay manages to walk this line very well, taking a magnifying glass to the ins and outs of the civil rights movement while weaving it into a compelling narrative that should hold viewers' interest for the entire running length.  But the strongest reason to see it is David Oyelowo's controversially un-nominated performance as King. The big surprise is watching him bring to life this man in such a way that it feels as if we're being exposed to his life and ideologies for the first time, experiencing the weight of his impact with fresh eyes. That's the real draw here. If there's anything the film will be remembered for years down the line, aside from the silly, fabricated "controversy" surrounding its accuracy, it's his restrained, thoughtful interpretation of King.

It's 1964 and Martin Luther King, Jr. (Oyelowo) has just accepted the Nobel Peace Prize, even as discrimination and racism continue to rip the country apart. The previous year four young girls were killed in a white supremacist bombing of an African-American church in Bimingham, Alabama, escalating racial tensions to an all-time high as blacks are continually denied the right to vote. When Southern Christian Leadership Conference President King meets with President Lyndon Johnson (Tom Wilkinson) in an attempt to obtain federal legislation that would allow black citizens such as Annie Lee Cooper (a powerfully subdued Oprah Winfrey) to register without restriction, he discovers the passage of such a bill is at the bottom of Johnson's political priority list.

Upon arriving in Selma with SCLC activists, King's met with even more resistance by Alabama Governor George Wallace (Tim Roth), with local law enforcement and state troopers responding to their nonviolent protests by injuring and in some cases killing protesters.This prompts King's idea for the Selma to Montgomery march, his seemingly last ditch effort to defy segregation and get through to the lawmakers. Drawing thousands of both blacks and whites from around the country, it's a dangerous but necessary move, putting these activists lives at risks, as well as King and his family's safety.

This is a difficult watch for a number of reasons that are completely unrelated to an allegedly controversial depiction of President Johnson. You'd figure that in a film covering a jaw-droppingly repulsive period in the nation's history, we'd be left more shaken by the recreation of those horrific events than preserving LBJ's legacy. It's especially comical when no one was ever previously concerned with doing that, or were even aware he had much of one to preserve. While he does come off terribly in the film, rejecting King's proposals at every turn until it politically benefits him to change course, there's little evidence suggesting those events didn't occur.

Whereas George Wallace is mostly painted a card-carrying racist, LBJ avoids that indignity, with Wilkinson playing him as an out-of-touch schemer who's eventually dragged kicking and screaming into signing the bill only after lives have been lost and he's politically humiliated. It's definitely not his finest hour, but we're kidding ourselves into thinking a President raked over the coals for his handling of Vietnam and even accused of conspiring in Kennedy's assassination was at all beloved prior to this film's release. He has his supporters and his reputation has unquestionably undergone a positive reevaluation of late, but DuVernay shouldn't be criticized for failing to portray him as a saint.

If maybe not King's nemesis, LBJ's clearly positioned as a major obstacle in blacks obtaining voting rights, and a stubborn one at that. Very much behind the curve while King is ahead of it, the movie's at its strongest when tensions reach a fever pitch and violence erupts. His non-violent sit-ins don't initially work and there seems to be much doubt as to whether they eventually will. The violent alternative is presented as Malcolm X (Nigel Thatch), who shares a brief but memorable scene opposite King's wife, Coretta (Carmen Ejogo) that seems to exist solely for the purpose of King venting about it later (hint: he doesn't like him). The more interesting stories involve the individual protesters such as Winfrey's Annie Lee Cooper and Amelia Boynton (Lorraine Toussaint), SCLC members James Bevel (Common) and Hosea Williams (Wendell Pierce), Student Nonviolent Coordinating Committee founder Diane Nash (Tessa Thompson) and young marcher Jimmie Lee Jackson (Keith Stanfield), and white priest James Reeb (Jeremy Strong), whose eventual murders take this battle to a whole new level.

The picture of King in our minds is often that of a big, booming powerful force of nature so it would seem unlikely that the talented, but mostly unknown David Oyelowo would have the physical presence or charisma to pull that off. But just as we already decided how Daniel Day-Lewis should play Lincoln and what voice he should use before he actually did it, Oyelowo changes the conversation, challenging our preconceived notions of Dr. King. It's a really quiet performance but explosive when it needs to be, which makes all the sense in the world when considering his methods. There is a physical resemblance and he nails the speaking rhythms, but more importantly, he captures the determination, never blinking or wavering once in his plan despite the resistance that comes from even his most loyal supporters. The only time he lets his guard down and we see the fear and sadness is when there's a death or his family's threatened. Most of these displays of emotion occur in the scenes opposite his wife, as we see the toll it's taken on his marriage. Rumors of King's affairs are addressed before being quickly dropped, but they're never presented as anything more than that. If anything, the film even finds a way to at least partially blame Johnson for King's marital problems.

It seems as if we've entered a period where movies based on historical events are judged on their truthfulness and accuracy before anything else. This is a losing proposition since it's not only impossible to nail down every fact and conversation exactly how it happened, but it robs the filmmaker of creative license . And if it's about a touchy subject or contending for Oscar consideration, the nitpicking only intensifies. Taking all that into account, DuVernay does a great job under thankless circumstances, making logical decisions as to when  she starts and stops the story. If she came in any sooner in King's life it could have been too much and if she stretched it out to include the assassination, it would just present an extra load of baggage to deal with. Just ask Spielberg, who couldn't even decide whether he was including Lincoln's assassination or not. At least DuVernay clearly commits to ending this at a concise point. 

Selma is beautifully shot and superbly acted, but as awful as this statement seems, I have little desire to see it again. That's not a complete surprise given the difficult content, but it brings up an interesting question. How miserable is too miserable? While that reaction could easily be written off as the typical "white guilt" response, maybe there's some truth to it. Who of any race, gender or nationality wouldn't feel terrible watching this? And what ending, no matter how uplifting or inspirational, could possibly erase the image of blacks being beaten as gassed in the streets or that King is assassinated only a few short years later. Maybe there is an inherent liability in recreating historical events so closely in that it robs us the ability to "escape" through movies. Here, we're watching history skillfully reenacted on screen, as if it will ever provide some kind of restitution or explanation for what happened. And yes, it's true that films of this type are always released like clockwork around Oscar time. It's easy to respect what Selma does, but more difficult admitting it's something we want to see.