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.

2016 Oscar Predictions

While the Academy Awards seem steeped in more controversy than ever this year, there's no debating that they're still very much a big deal. If they weren't, no one would care, and there certainly wouldn't be as much discussion and outrage as there's been over the past couple of months surrounding the nominations. If nothing else, Chris Rock shouldn't have any shortage of material in his opening monologue. And those watching definitely won't have a shortage of things to talk and laugh about when he's finished. Long considered a thankless job that's sunk even the most talented of comedians, actors, and TV hosts, Rock has the unusual benefit of this year's jokes sitting right over the plate for him. But as we know, it's always a tough room for any host, regardless of the circumstances 

Complaints about a lack of diversity in the nominations has already caused one unfortunate, unintended consequence: The conversation shifting away from all the deserving nominees that were recognized and the acknowledgement that, more often than not, the Academy does recognize quality. And occasionally, they even get around to rewarding it. This 88th year is no different than any other. Sometimes your favorites get in. Sometimes they don't. All you can do is sit back, enjoy the ride, taking pleasure in the tiny victories that do come your way as a movie fan. Like knowing your favorite film of the year may be recognized with a Best Picture nomination. Or celebrating a talent whose career you've followed from jump street, or in this case, since before 21 Jump Street.

There are 8 nominees this year for Best Picture, and despite my recent inactivity, I've seen over half of them. I meant to get a review up for the frontrunning The Revenant before the show, but will instead have to unfortunately settle for cramming in a last minute viewing. That race is still far from locked up though, as more than a few categories are still up in the air. It hasn't been one of the more enthralling Oscar races in recent years, but it's all over the place, making the prognostication game tougher than usual. The closest I've come to a clean sweep was missing two categories in 2014. Don't expect that this time. All predictions are below, accompanied with analysis where warranted. This time, I saved the big ones for last. As usual, I'm reserving the right to adjust these right up until the start of the show. But judging from the poor results of my flip flopping last year, that's a luxury I should probably restrain from indulging in.

*Predicted Winners 
        

Best Original Song
“Earned It” from Fifty Shades of Grey
“Manta Ray” from Racing Extinction
“Simple Song #3” from Youth
“Til It Happens to You” from The Hunting Ground
“Writing’s on the Wall” from Spectre

Best Cinematography
Ed Lachman, Carol
Robert Richardson, The Hateful Eight
John Seale, Mad Max: Fury Road
Emmanuel Lubezki, The Revenant
Roger Deakins, Sicario

Best Documentary Short
Body Team 12
Chau, Beyond the Lines
Claude Lanzmann: Spectres of the Shoah
A Girl in the River: The Price of Forgiveness
Last Day of Freedom

Best Documentary Feature
Amy
Cartel Land
The Look of Silence
What Happened, Miss Simone?
Winter on Fire: Ukraine’s Fight for Freedom

Best Costume Design
Sandy Powell, Carol
Sandy Powell, Cinderella
Paco Delgado, The Danish Girl
Jenny Beavan, Mad Max: Fury Road
Jacqueline West, The Revenant

Best Sound Editing
Mad Max: Fury Road
The Martian
The Revenant
Sicario
Star Wars: The Force Awakens

Best Sound Mixing
Bridge of Spies
Mad Max: Fury Road
The Martian
The Revenant
Star Wars: The Force Awakens

Best Makeup and Hairstyling 
Mad Max: Fury Road
The 100-Year Old Man Who Climbed Out the Window and Disappeared
The Revenant

Best Live-Action Short
Ave Maria
Day One
Everything Will Be Okay (Alles Wird Gut)
Shok
Stutterer

Best Animated Short
Bear Story
Prologue
Sanjay’s Super Team
We Can’t Live Without Cosmos
World of Tomorrow

Best Animated Feature
Anomalisa
Boy and the World
Inside Out
Shaun the Sheep Movie
When Marnie Was There

Best Supporting Actor
Christian Bale, The Big Short
Tom Hardy, The Revenant
Mark Ruffalo, Spotlight
Mark Rylance, Bridge of Spies
Sylvester Stallone, Creed

*With performances in Mad Max: Fury Road, Legend and The Revenant, Tom Hardy's nomination for his diabolical turn in the latter represents the culmination of a creatively fruitful year. He'll get his Oscar. Just not now. Bale and Ruffalo are in similar spots as standouts in large ensembles, but if you're putting odds on an upset, Bale's wild performance, his history and The Big Short's surprising momentum gives him a better than decent shot here. Some think Mark Rylance can win for Bridge of Spies and he theoretically can. But who's talking about that movie? His victory narrative just isn't exciting enough. That leaves us with Creed's Stallone, for whom we can all agree the narrative is most definitely exciting enough, potentially winning gold for reprising the character he created over thirty years ago. Everyone loves a comeback and voters won't be able to resist hearing that music as Rocky takes the stage. The place will go nuts.      

Best Supporting Actress
Jennifer Jason Leigh, The Hateful Eight
Rooney Mara, Carol
Rachel McAdams, Spotlight
Alicia Vikander, The Danish Girl
Kate Winslet, Steve Jobs

*Spotlight's Rachel McAdams is a non-starter, relegated to background player in an ensemble role that should have been developed enough to earn her this. If they're interested in giving out a career award, there's no better option than Jennifer Jason Leigh, who is somehow only now receiving her first nomination. But The Hateful Eight's lack of presence in other major categories and Tarantino hate still running strong would prevent me from putting any money on it. And as much as I admire Steve Jobs and Kate Winslet's chameleon-like performance, the subtlety of it will probably be lost on Academy members who prefer the actress in bigger, showier roles. So, it's a battle between two ingenues in Rooney Mara and Alicia Vikander. Given Oscar's storied history of anointing the the next "It Girl" in this category, Vikander's 2015 double shot of The Danish Girl and Ex Machina (for which many believe she should have been nominated instead) puts her over the top. If just barely. As usual, be wary of a possible upset in what's annually been the tightest contest.      

Best Visual Effects
Ex Machina
Mad Max: Fury Road
The Martian
The Revenant
Star Wars: The Force Awakens

Best Film Editing
The Big Short
Mad Max: Fury Road
The Revenant
Spotlight
Star Wars: The Force Awakens

Best Production Design
Bridge of Spies
The Danish Girl
Mad Max: Fury Road
The Martian
The Revenant

Best Adapted Screenplay
Charles Randolph and Adam McKay, The Big Short
Nick Hornby, Brooklyn
Phyllis Nagy, Carol
Drew Goddard, The Martian
Emma Donoghue, Room

*In a perfect world, Room's Emma Donaghue would easily take this for pulling off the rare trick of successfully adapting her own novel. She would be my choice, but unfortunately three other adaptations fit more squarely into the Academy's wheelhouse. It isn't Drew Goddard, who's the odd man out with The Martian's inexplicable inclusion, with his script being that film's weakest aspect. Nick Hornby and Phyllis Nagy may be in the same boat for Brooklyn and Carol, respectively. Both are well regarded without being well regarded enough to take this. But don't count either out, especially Brooklyn, which, like Room, was liked enough to earn a Best Picture nod. The winners will likely be The Big Short's Chris Randolph and Adam McKay, who accomplished the seemingly impossible feat of adapting Michael Lewis' impenetrable book about the housing and credit bubble into a more easily digestible (if still impenetrable) piece of entertainment.   

Best Original Screenplay
Matt Charman, Joel Coen, and Ethan Coen, Bridge of Spies
Alex Garland, Ex Machina
Pete Docter, Megg LeFauve, and Josh Cooley, Inside Out
Josh Singer and Tom McCarthy, Spotlight
Jonathan Herman and Andrea Berloff, Straight Outta Compton

*Just the names "Joel and Ethan Coen" over Bridge of Spies' credits assures at least the chance at a potential upset. The challenge will be in reminding voters they had anything to do with that script. When praising Inside Out, everyone seems to place an emphasis on its surprisingly deep and insightful script. Unfortunately, the Animated Feature category exists partially to prevent the film from winning in categories like these. Ex Machina is a really inspired choice but it came out too early in the year and it's doubtful enough voters saw it. Besides, it's just too cool for them, which is a shame since Garland's script is probably the most deserving here. There's NO WAY voters are honoring the two white writers of Straight Outta Compton while the film was overlooked in every other category. Just imagine how that would go over. That leaves us with Spotlight, which has to win something. This is likely it.

Best Original Score
Thomas Newman, Bridge of Spies
Carter Burwell, Carol
Ennio Morricone, The Hateful Eight
Jóhann Jóhansson, Sicario
John Williams, Star Wars: The Force Awakens

Best Foreign Language Film
Colombia: Embrace of the Serpent
France: Mustang
Hungary: Son of Saul
Jordan: Theeb
Denmark: A War

Best Actress
Cate Blanchett, Carol
Brie Larson, Room
Jennifer Lawrence, Joy
Charlotte Rampling, 45 Years
Saoirse Ronan, Brooklyn

*It's great when the Academy gets it right. Brie Larson's going to win and most definitely deserves to, making for my most appreciated outcome of the night, and easily the past few years. I could waste time dwelling on all the nominees' chances (in short: Joy flopped hard, Rampling blew what little shot she had with controversial diversity comments, Blanchett just won this and Ronan's nod feels more like an invite into an exclusive club) but this space is better served recognizing an actress I'm not only a big fan of, but have actually written A LOT about. What's most amazing is that most of these are supporting roles and it still doesn't cover even smaller ones like Scott Pilgrim vs. The World, Greenberg or The Spectacular Now, where she also made huge impressions. 

In honor of Brie's potential win, I gathered a collection of choice review quotes of mine praising her work, including an eerily accurate prediction from 2014's The Gambler, a unique, underrated remake I seem to appreciate more and more each time I think back to it. Searching for an excuse to talk about it again, I couldn't be more pleased it's happening under these circumstances While some feel Brie's part was a throwaway or underdeveloped, it's a testament to her talent that even its director has apologetically admitted that's exactly the reason she was needed to do it. And she's really good, regardless of how anyone feels about the film, which does rightfully have its supporters. 

Incorrectly dubbed an overnight sensation, Larson's actually been kicking around in the industry for over 15 years, starting as a child actor and sometimes pop star, sharing the screen at various points with co-stars as insanely eclectic as Bob Saget, Toni Collette, Jimmy Buffett, Chris Kattan and Tony Danza. Looking and acting so completely different from film-to-film that few could pick her out of a lineup, it wasn't until the brilliant Short Term 12 a couple of years ago that she really turned the corner and exploded. And now, here we are. So, congrats in advance to one of my absolute favorites, somewhat easing the blow of what happened to Michael Keaton last year. Not many Oscar wins have me jumping out of my seat. This one will.

"....the biggest credit to the maturity and wit Larson brings to the role is that we're genuinely rooting for Hill's character to win this girl over and laughing too hard to even consider the moral and legal ramifications of an undercover cop picking up a high school student."- from 21 Jump Street review (8/9/12)

"And doing a complete 180 from her recent role in 21 Jump Street, an almost unrecognizable Brie Larson goes head to head with Harrelson in the emotional family scenes as his rebellious daughter" -from Rampart review (8/14/12)

One of the toughest things to convey as actor are hidden reserves of surprising strength or deep pain. Larson is able to do both, sometimes at once, and because we start with so much respect for the character and her relationship with her boyfriend and these teens, when she's forced to finally pull back the curtain on her life, the reveal is almost unbearable to take." -from Short Term 12 review (4/26/14)

"In a nearly wordless, dialogue-free performance, Brie Larson's face may be buried in her phone texting as Jon's sister, Monica, but conveys more with an occasional eye roll or sideways glance than most other actresses would with pages of dialogue." -from Don Jon review (5/28/15)

"Larson captivates as usual in the limited role, further confirming suspicions that Jennifer Lawrence probably needs to watch her back in the years ahead."-from The Gambler review (8/2/15)


"As Kim, Brie Larson is given an arguably undeveloped role she still manages to do a lot with, allowing us to see through her how Amy turned into such a disaster." -from Trainwreck review (9/16/15)

"...Larson really plunges the depths of this character in much the same way she did a couple of years ago in Short Term 12, taking a strong-willed caregiver and completely unraveling her as inner demons take over. Before long, it's apparent she's plummeted into a near-helpless state."-from Room review (1/18/16)

Best Actor
Bryan Cranston, Trumbo
Matt Damon, The Martian
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl

*It's time. He's due. The planets have aligned. Whichever phrase you want to use, Leo is taking home the Oscar and the only remaining question is which of the remaining nominees stand the best chance of pulling an upset that won't happen. Eddie Redmayne won last year and he won't be repeating given that The Danish Girl was even more poorly received than The Theory of Everything, but lacking the goodwill his performance in the latter had. Damon's work in The Martian is fun, but hardly Oscar worthy. In a stronger year, he's not even here. Fassbender gave the best male performance of 2015 in Steve Jobs, but too many people are inexplicably put off by the film, which flopped.

If DiCaprio somehow doesn't win, they would go for the popular Cranston who's popular enough in the industry to come one step closer to winning the EGOT. His biggest competition might not be DiCaprio, but Walter White. How do you top that? If only Trumbo were a better film and this wasn't Leo's year. But it is. And he's winning. Very few could claim he doesn't deserve it and we shouldn't be surprised if he wins a few more before he's done. And though it partially is, this doesn't feel like a "career achievement" award because the performance itself is deserving. The physicality he brings to the role of The Revenant's Hugh Glass stands out as being completely different than anything else he's done before.    

Best Director
Adam McKay, The Big Short
George Miller, Mad Max: Fury Road
Alejandro González Iñárritu, The Revenant
Lenny Abrahamson, Room
Tom McCarthy, Spotlight

*Only two filmmakers have managed to win back-to-back directing statues in Oscar history so it can be done. And while I'm not sure how I feel about Iñárritu joining the exclusive company of John Ford and Joseph Mankiewicz when so many legendary directors have none, he will pull it off. There's no reason he shouldn't given the wave of momentum The Revenant is currently riding. Voters are more likely to be impressed he quickly followed up Birdman with something dramatically different than grouchy he's winning two in a row. If anything, it shows his range and they'll want to reward that.  

Spotlight isn't a director's film at all. The phrase, "The nomination is reward enough" has never been more applicable than it is this year to The Big Short's Adam McKay. Considering the skill it takes to direct two actors (one of them a child) in a single contained space for half the film and make it that compelling, Lenny Abrahamson should be seen as a bigger threat. Oddly, he's not. The strongest competition is Mad Max's 70-year-old George Miller and if we're talking purely about direction, he arguably accomplished the biggest feat of the year. If there's a Picture/Director split, he's winning. But there won't be. Iñárritu has this in the bag.      
Best Picture
The Big Short
Bridge of Spies
Brooklyn
Mad Max: Fury Road
The Martian
The Revenant
Room
Spotlight

*We can agree right away that Bridge of Spies, Brooklyn and The Martian (which shouldn't be here) don't stand a chance, with each just not having enough critical or commercial support to go the distance. We can pretty much cross out any films that don't have a corresponding directing nomination, which makes this much easier. And as painful as this is for me to admit, we have to eliminate my beloved Room, which lacks that all-important film editing nod. This leaves us with Spotlight, The Big Short, Mad Max and The Revenant. Logic would indicate the Revenant lacking a screenplay nomination (or some would argue even much of a story) and The Big Short winning the Producer's Guild award, makes the latter an odds on favorite. Then common sense took over and people started to realize you can't just rely on statistics. The Big Short is polarizing and confusing. Movies like that don't win Best Picture, and especially if it's classified as a comedy.

The Academy would never give Best Picture to a genre film, even one as great as Mad Max, and still be able to look at themselves in the mirror the next day. Consider the fact that this and The Martian got a nominations a huge achievement in itself. Spotlight is a strong, solid choice if only it wasn't missing something. Namely a "wow" factor that all previous Best Picture winners have had. It doesn't feel BIG or emotional enough. Understated qualities that critics appreciate are sometimes not shared by the Academy, which is clearly the issue here. No matter what you think of it, The Revenant does feel big enough, containing the necessary scope, vision and emotion that most previous winners possess. It also boasts the most impressive filmmaking. Looking at the 8 nominees, it's tough to imagine voters won't feel it's the one, checking all their boxes, and making Iñárritu the only director in history to have his films win back-to-back Best Picture Oscars.

The Expendables

Director: Sylvester Stallone
Starring: Sylvester Stallone, Jason Statham, Jet Li, Dolph Lundgren, Randy Couture, Steve Austin, Terry Crews, Mickey Rourke, Bruce Willis, Eric Roberts, Charisma Carpenter, David Zayas
Running Time: 103 min.
Rating: R

★★ (out of ★★★★) 

The Expendables offers up the opportunity to see a dream team of action stars on acting auto-pilot shoot people in a film destined to head straight the discount DVD bin. Sly Stallone wrote, directed, produced and stars, continuing the 80's action nostalgia comeback he recently mounted with Rocky Balboa and Rambo and I was really taken aback by just how lackluster it is since the idea of teaming these guys up had some potential. Everything that could possibly go wrong nearly does as the film plays just as if he gathered his pals and over a few beers decided to shoot an action movie for kicks. But it's biggest crime is that it isn't even any fun, which should be the absolute minimum expected from something like this. Stallone grunts his way through one of his least engaging lead performances without much support from the rest of the cast. The Disposables may have been a better title as only two actors emerge from it relatively unscathed, and that's only because they're given so little to do. Everyone else looks foolish for having even appeared in it, forcing me to actually applaud Van Dam and Segal for having the foresight to sit this one out.

The Expendables of the title are a group of six mercenaries consisting of Stallone's veiny, tattooed leader Barney Ross, bad-ass Lee Christmas (Jason Statham), height challenged martial arts expert Ying Yang (Jet Li), cauliflower eared Toll Road (Randy Couture), angry, unintelligible giant Gunner Jensen (Dolph Lundgren) and the intimidating Hale Cesar (Terry Crews), who doesn't speak softly and carries a big gun.  They're hired for a dangerous assignment by the mysterious Mr. Church (Bruce Willis, in a church) to assassinate Central American dictator, General Garza (David Zayas), who's been running drugs with rogue CIA agent James Munroe (Eric Roberts). Initially given the offer because they're "expendable," Ross makes it personal when he kind of develops a thing for the dictator's daughter, Sandra (Giselle Itie), who loyally puts her country and its people ahead of her own well being. Mercifully for us, the script doesn't explore that potential relationship at all, as if there would be time anyway in the midst of all the gunfire. Despite vague attempts by the script to assign its members' clever nicknames, backstories and characteristics, for honesty's sake they could have easily just been called Stallone, Statham, Li, Crews, Couture and Lundgren and no one would have noticed. And I haven't even gotten to Austin and Rourke. It's obvious the big draw here is seeing all these top action stars on screen together at once for the first time and Stallone is so in love with the idea (in all fairness a pretty good one) that he decides to just rest on that, denying us a plot we can rally behind.

Arnold Schwarzenegger's much buzzed about cameo is indicative of the many missed opportunities to  give this all-star lineup interesting characters to play. His brief early scene with Stallone and Willis is pointless, existing only as an attention-grabbing distraction and a chance for a few old buddies to have a laugh while winking at the camera. Worse still, "The Governator" isn't even given any good lines before disappearing at the blink of an eye. No "I'll be back" or anything. There was a point where I actually thought the three would turn to the camera and start talking about how cool it is they're all onscreen together and how lucky we are to witness it, which could have been true had the scene meant anything. Mickey Rourke continues blazing his bizarre post-Oscar career trail with a turn as philosophical ex-team member, Tool, who's pretty much the Mr. Miyagi of tattoo artists. Rourke is Rourke, which is always good for some fun even in small doses. It's too bad Eric Roberts is still Eric Roberts and has long past the point where he's become a complete parody of himself. He's at his cheesy, scenery chewing worst here and it's a shame he felt the need to follow up a somewhat respectable turn in The Dark Knight with this. Despite being one of the weak links in that film, at least Nolan reined him in, but if he wants to be taken seriously as an actor again it would help to stop taking joke parts like this. As his right-hand man, Paine, "Stone Cold" Steve Austin is required mostly to stand there and look intimidating, which he does well, but knowing the life span of henchmen in action movies, don't expect to see him in the sequel. The female "love interest" is as bland as they come and the casting of Dexter's David Zayas as an evil dictator is laughably off the mark. Of the actual Expendables, only Statham entertains (particularly when disposing of some guys during a scene on a basketball court) but that's not surprising given that he can play the tough guy role in his sleep. Stallone instead literally plays it in his sleep, reminding us how bad he can be when saddled with a script (in this case his own) that doesn't given him anything to do but mumble and growl.

While the entire plot of The Expendables is half-heartedly conceived, the routine action scenes at least look believable, lacking obvious CGI. I was never bored and Stallone (still a competent action director despite this misfire) keeps everything moving at a good clip. If he didn't, a movie that's merely lazy and uninspired could have easily turned unbearable. What started as a promising idea on paper plays onscreen as a "Planet Hollywood" reunion when so much more could have been done and all the tools were there to do it. Stallone's already rounding up the cast for The Expendables II, so here's hoping he eventually follows through with his original plan of paying tribute to high octane 80's blockbusters rather than honoring late 90's direct-to-DVD action movies starring Eric Roberts.

Rambo

Director: Sylvester Stallone
Starring: Sylvester Stallone, Julie Benz, Matthew Marsden, Graham McTavish, Paul Shulze
Running time: 91 minutes
Rating: R

***½ (out of ****)

I don’t think I’ve ever been more inspired to hit the gym than right after viewing Rambo. Say what you want about the film but no one can accuse 61 year-old Sylvester Stallone of not physically preparing himself to resurrect the iconic character he created over twenty years ago. He’s so big in this movie it’s a miracle he was even able to run at all without falling over and there were times I thought he might. If I was exhausted just watching him and the other members of the cast tear through the jungles of Thailand I can’t even imagine how hard a movie this must have been to make for them or how physically grueling. Stallone should congratulate himself though because he’s done what he failed to do with 2006’s Rocky Balboa. He’s made our reunion with John Rambo actually mean something more than just a trip down memory lane.

While it’s unfair to compare the two films, it’s all but impossible not to. I found his attempt to resurrect Rocky to be a laughable misfire in which Stallone fell in love with his own nostalgia over the character. He figured just putting “The Italian Stallion” in the ring again was enough, asking audiences to ignore the fact that the screenplay didn’t contain anything or anyone else worth caring about. The fourth installment of Rambo is the exact opposite and easily the most satisfying directorial effort of Stallone’s career. And this is coming from someone who is not a fan of war films, this series or really Stallone in general. Truth be told, I wasn’t looking forward to seeing this at all. But Rambo knows what it has to do and just does it, executing its premise to near perfection and not overstaying its welcome. In this way it reminded me of last year’s Live Free or Die Hard, which is a high compliment.

Under usual circumstances it would seem almost beside the point to discuss the plot of a Rambo film other than it involves a lot of people being killed in the jungle, but this actually does have a fairly engaging storyline. It isn’t going to change the world or anything but it gets the job done and places Rambo in a situation that brings out the best in the character and plays on the series’ strengths. The screenplay at times does seem to be reaching for something more also. It doesn’t quite get there, but it comes closer than it has any right to. And yes, a lot of people are killed also.

Lonely, aging Vietnam Vet John Rambo (Stallone) is content spending his free time catching poisonous snakes for profit when Christian missionaries Michael (Paul Shulze) and Sarah (Dexter’s Julie Benz) approach him with the offer to take their group up river from Thailand to Burma. At first, Rambo resists due to what can best be called philosophical differences (and likely a desire not to see these people killed) but pretty Sarah lays on the charm and he reluctantly caves in. When the trip down river leads to potential disaster as they encounter a gang of pirates, Rambo rectifies the situation the only way he knows how and returns thinking he’s safely gotten the missionaries to their destination. But he finds out a little over a week later that The Burmese Army, whose sadistic officer kills villagers for sport, has captured them. Rambo is recruited to head downstream again with a rag tag group of mercenaries to rescue them from the P.O.W. camp. Bloodshed and many rounds of firing ensue.

Going into Rambo I was expecting a movie with a big budget blockbuster feel and somewhat of a campy attitude but in actuality it plays more like a gritty independent film or documentary. I was amazed at how well Stallone shot it as it’s almost as if we’re seeing the action through Rambo’s eyes as he navigates the men through the jungle. Despite the picture only running 90 minutes it feels like an epic war film, kind of a twisted up version of Apocalypse Now on steroids. Some may complain about Stallone taking 40 minutes to get down to the action but I enjoyed the fact that he took his time reintroducing us to the Rambo character and giving us some quiet moments with him. Nor does he take center stage and start blowing everyone away immediately like you’d expect. This could have easily ended up being a vanity project for the star but Stallone, rather unselfishly, gives his co-stars equal time and turns it into an exciting ensemble action thriller.

Graham McTavish and Matthew Marsden are particular standouts as the mercenaries, while the cleverness of casting Julie Benz as the female lead can’t be undersold. Since she’s an actress that oozes angelic sweetness seeing her character being dumped into genocidal hell and having to depend on a grumpier than ever Rambo to get out is classic and provides a great contrast. Rather than saying Stallone gives a great acting performance here it’s probably more accurate to say he gives a great performance in the B-movie tradition. The only time he falters as a director is when he doesn’t trust himself enough as an actor and relies on unnecessary flashbacks and voice-overs to convey Rambo’s angst. It was that similar miscalculation that caused me to laugh hysterically at the finale of Rocky Balboa. Luckily, here it’s kept to a minimum and isn’t as ill timed as it was in that film. He conveys more with a single facial expression than any distracting voice-over can.

Stallone was put in a no-win situation with the violence. If it’s as graphic as possible he’s accused of being a hypocrite and exploiting the injustices in Burma he’s claiming to shine a needed spotlight on. But if he cuts corners in depicting it to please the studio and bring in younger audiences then the movie becomes less authentic, short-changing a serious issue. My stance on it is that this is just entertainment and he shouldn’t be held to so high a standard, but having said that, I think he made the right call going all the way with it. And to Stallone’s credit, the violence, as graphic as it is, never seems cartoonish. Instead, it’s horrifying and shockingly realistic. There are about two or three sequences that are downright difficult watch they’re so brutal. It’s here where the film flirts with being something more than just a fun action vehicle. You could even argue at times it’s so serious there’s little fun to be had during many scenes. But that’s the way it should be. Stallone didn’t compromise and refused to turn this into a joke.

The restrained script wisely doesn’t shove the Burmese situation down our throats, but lets the violence do all the talking instead. And does it ever. Unfortunately though it serves as disturbing further proof that the MPAA finds it perfectly acceptable to have limbs flying around in action movies since the NC-17 rating is only reserved for artsy independent projects that dare to feature sex or nudity. But that’s a separate issue. This film can’t be blamed for the MPAA rating board’s stupidity.

I was surprised how affected I was by the ending and in a weird way, Rambo does become an inspirational figure of sorts, at least within the movie universe Stallone has so effectively created. The choice of the final scene is just perfect and the movie couldn’t have ended on a more appropriate note. It’s been so long since I’ve seen First Blood or any of the other films in the series it would be unfair for me to compare, but what matters most is that this movie stands on its own two feet as a winner regardless of what came before. It stays true to the character and its origins and is everything a fourth installment of a franchise like this should be. If Stallone wanted to keep going and make another I wouldn’t complain. Or he can stop here and end with the knowledge that Rambo went out on top.

Rocky Balboa

Director: Sylvester Stallone
Starring: Sylvester Stallone, Antonio Tarver, Geraldine Hughes, Milo Ventimiglia, Burt Young
Running Time: 102 min.
Rating: PG

**1/2 (out of ****)

While many laughed when Sylvester Stallone announced plans to make a sixth and final Rocky film, I thought it was a great idea. The franchise never really got the sendoff it deserved and other than an interesting turn in 1997's otherwise forgettable Cop Land, Stallone really hasn't found his footing as an actor ever since the original Rocky. That's not because he's a bad actor. While he isn't going to be accepting any Academy Awards any time soon, if he's given the right role he can be effective and entertaining.

In Rocky Balboa, Stallone once again gives a surpringly confident and touching performance as the "Italian Stallion" that's a joy to watch. Imagine my disappointment then when I discovered that the movie surrounding it doesn't really amount to much. It almost feels like a pilot for a failed television series. There's an expression that says a movie is made in the editing room. I don't think I completely knew what that meant until seeing this film.

It's 2006 and Rocky Balboa is now in the minds of many, himself included, a washed-up has been. Life has dealt him some rough blows. His beloved Adrian has passed away from "woman cancer" as he calls it and now he runs a restaurant in her name while in his spare time sulking around the streets of Philadelphia with a hangdog expression on his face. His son, Rocky Jr. (Heroes' Milo Ventimiglia in a nothing performance) doesn't want anything to do with him and now even Paulie (the returning Burt Young) is getting sick of Rocky's inability to move on in the wake of Adrian's passing. When a computer generated dream match theorizes that Rocky in his prime would defeat the current heavyweight champion, the cleverly named Mason "The Line" Dixon (Antonio Carver), something is awakened in him. He's making a comeback to fight Dixon, even though everyone thinks he's out of his mind.

The only person with any faith in him is Marie (Geraldine Hughes), a girl he walked home when she was just a kid and has now reconnected with after a night at a bar. She's almost as lonely and depressed as he is and they make a perfect match. I liked that touch in the story, except the relationship doesn't really go anywhere and everything feels so rushed that it can't have any emotional impact. The first hour of this film is actually very good (even if it's so depressing you'll want to hang yourself) and Stallone gives maybe the finest performance of his career. You really feel for this guy and it reminds you why Rocky was such an iconic figure in American cinema. He may not be the brightest guy but he has a huge heart and Stallone plays him just right.

I can't tell you how badly I wanted to love this film or how much I respect Stallone for making it, but he makes a crucial misstep in the film's second half that pretty much ruined everything for me. After Rocky has his revelation that he's going to challenge Dixon we have our big training montage set to "I'm Gonna Fly Now"(this time he runs the steps with his dog) and then we're in the big fight. That's it. Virtually no build-up at all. His son argues with him about going through with the fight, yet seems absolutely fine with it by the next scene. He's even in his dad's corner. Rocky's an out of shape mess one second and the next he's in the ring completely ripped and shredded. It's like half the movie was left on the cutting room floor. Of course there's the weigh-in with Rocky and Dixon where.... well, nothing. Absolutely nothing happens.

Probably the worst part of this movie is Mason Dixon. I know this is a Rocky movie and I don't expect the villain to have a ton of depth, but would it hurt if he had a little charisma? He doesn't even look like a world champion. He's not in good shape (which they actually acknowledge, but that doesn't excuse the error in judgement), isn't physically imposing and Tarver (who's shockingly a real pro boxer) has absolutely no screen presence. His performance makes Tommy Morrison's in Rocky V seem Oscar worthy. If there was ever a situation that called for a larger than life, charismatic, "float like a butterfly sting like a bee" type character this was it. Imagine Mekhi Pfeiffer or Jamie Foxx in the role. Now that would be something and add an incredible amount of fuel and emotion to the final fight.

Even worse, this "champion" is portrayed as a complete wuss who only fights people he can crush. So now Stallone has written himself into a corner. If Rocky wins he's beaten a guy who sucks. If he loses, then he looks even worse than that. I appreciate the Rocky films are not about winning and losing, but they are about accomplishing something for yourself against all odds. If the opponent is weak than regardless of the outcome it makes Rocky look bad. He's accomplished nothing either way. If this really is the last film in the series, or even if it isn't, Stallone should have come out with guns blazing and an incredible antagonist for Rocky to play off of. I'm not saying a cliched villain, just a strong opponent at least.

The good news is that the big fight is exciting and fantastically filmed. It could be be the most exciting fight in all of the Rocky movies, but even this has some problems. For one, there's a stupid and unnecessary cameo from Mike Tyson that takes us right out of the movie. I'm not sure what purpose it served other than to further remind us how bland Rocky's opponent in the ring is. Then there are flashbacks of Adrian and Rocky's past together inserted into the fight. Was this really necessary? We get the point. Adrian was his life. We know this already. Plus, It's just visually bizarre and out of place to see Adrian's head floating above the ring in the middle of this major physical battle.

There are actually a lot of flashbacks during the film. So much so that you have to wonder if the movie and Stallone himself are as guilty of living in the past as his character. If you think about it the whole movie is just a replay of the original, with very few of the elements that made that film so special. It runs 102 minutes but it feels more like 10. This final installment (if it is the final one) wasn't the time to hold back. But I'm sure all the diehard Rocky fans out there are going to love this and won't care at all what I say. They're just happy Stallone made a decent Rocky movie and would have probably liked anything he put on screen. Rocky Balboa will please them, but the potential was there to do so much more.