“One step at a time, one punch at a time, one round at a time.” 

This quote serves as the overall theme of the new Rocky spinoff film, Creed, which director Ryan Coogler launches in a manner that honors the past, collides with the present, and welcomes the future.

At one point in time, many believed that the eventuality and course of action would lead us to seeing old man Rocky train and corner his son to pugilistic stardom. However, a fresh perspective brings the focus of this boxing drama onto a young man named Adonis Johnson, who looks to follow in the footsteps of his late father, Apollo Creed.

After some missteps and hard-nosed rejection, Johnson travels to Philadelphia with hopes that the “Italian Stallion” will take him under his wing.

Johnson revealing his familial ties to Balboa’s rival-turned-friend brings about a spiritual awakening of sorts until the ghosts of the past temporarily derail any sort of instruction.

Michael B. Jordan as Adonis Johnson/Creed is an example of perfect casting and turned in a great performance, which isn’t a surprise since his considerable talent was well-utilized under the direction of Coogler here and before with Fruitvale Station, where many felt Jordan was snubbed for a best actor nomination.

Besides some juvenile delinquency in his early years, it was refreshing to see Johnson as an educated man who seemed to be on the fast track to success in the corporate realm. Pickup fights in Tijuana, coupled with an unbridled passion for the sweet science, unveiled a yearning for something more.

While Adonis is in many ways his father’s son, he is anything but a carbon copy of the braggart prize fighter who paraded to the ring dressed as Uncle Sam. The film is careful in respecting the legacy of Apollo, even in the face of infidelity, because without it, Creed doesn’t carry the weight required to resonate with fans or dare say, even exist.

The notion that people don’t want to see their heroes grow old never saw the grace, humility, and humor that Sylvester Stallone brings to a grizzled Rocky Balboa. Personally, I didn’t think Stallone had a performance like this in him anymore; however, art imitates life, as both character and actor prove they have some fight left in them.

Rocky will always get the benefit of the doubt in many aspects. The nostalgia here helps but can’t completely take credit for how this performance resonates. Stallone does a lot of that on his own with a charm that conjures up a wide array of emotions, from wanting to run up the famed stone steps of the Philadelphia Museum to joining Jordan’s Adonis in telling his mentor, “I fight, you fight.”

Tess Thompson as the musically-inclined Bianca is more than the love interest. She is a strong and confident individual who is working towards her own goals amidst her own struggles. Attraction and inspiration hit Adonis, which produces great chemistry between the two actors.

Phylicia Rashad rounds out the cast as Apollo’s widow, Mary Anne Creed. While her casting raised a couple of questions based on curiosity rather than criticism, Rashad brought a gravitas to the role that was needed to have an impactful and pronounced presence in Adonis’ life.

Enter the film’s antagonist, “Pretty” Ricky Conlan. The brash Brit and undefeated world champion sees Creed as the perfect opportunity to cement his legacy. Tony Bellew, who plays Conlan, is an accomplished boxer who brought an authenticity to the role that won’t take you out of the film since his name isn’t widely known.

In many ways, Conlan is less villain and more alpha male whose loud persona takes pride in wearing the crown of boxing’s elite.

Boxing star Andre Ward appears in the movie early on and looks to be set up as the main foil. That turned out not to be the case because you want the audience to see the character and not the celebrity in such a role.

What ultimately serves the film very well is the dynamic between Conlan and Creed. When they finally clash, it’s not apparent at all who will emerge as the victor. Adonis, carrying the film’s titular namesake, makes him the favorite, but Rocky didn’t win his first fight on the silver screen either, so the fight can go in either direction.

Also, his lack of professional fights doesn’t make him a realistic option to beat the greatest boxer in the world under normal circumstances. These aren’t normal circumstances, however, as Conlan’s difficulties outside of the ring, coupled with Adonis being a naturally talented fighter himself, could be the recipe needed for a Conlan fall.

It was nice to see the fight contested in the light heavyweight ranks (175 lbs.), which reflects the current climate of combat sports, where the heavyweight division, where Rocky and Apollo fought, is not nearly the gold standard it once was.

Nostalgia is a big component that sells this film. While it’s used to its advantage, such as when Rocky offers a chicken-chasing solution to make Adonis faster, Creed doesn’t rest on its laurels in the slightest.

After a cascade of new and contemporary music that makes for a great soundtrack, what appears to be Bill Conti’s “Going the Distance” turns out to be composer Ludwig Goransson’s “You’re a Creed.” It takes cues from the iconic theme but turns into its own melody, which draws a parallel to Adonis, who strives to stand on his own merit instead of simply being known as the offspring of pugilistic royalty.

When looking at a film that is derived from such a cherished franchise, being good simply isn’t good enough. It has to be great beyond the scope of its own narrative so it inspires an audience to indulge in future installments. Creed accomplishes all of this with a spirit that carves its own distinctive path that complements and is worthy of its cherished predecessor.

It’s a familiar story with a new journey based on a simple philosophy. 

“One step at a time, one punch at a time, one round at a time.”

Initially published by Forces of Geek.com on 11/30/15