Creed II is absent of both the topically political atmosphere of Rocky IV and the bravura action of Ryan Coogler’s Creed.
The film at one point offers the finest sustained act of emotional storytelling to grace a Marvel production.
The film crams in jokes long past the point of relevance and often to outright distraction, if not annoyance.
Creed cannily funnels decades of American social tension into a tense and moving interracial buddy story.
You have to ask which storyline does an evenly matched Oscar contest best serve? That of the underdog, obviously.
One of the Ryan Coogler film’s greatest traits is its reticence, its refusal to say 10 words when two will do, or to say one word when silence says it all.
The result is an uncomfortable mix of the trite social politics of Paul Haggis’s Crash and the shallow character development of Pulp Fiction.
For all the brawn on display, the film never slows down to take in the thrill and talent of hand-to-hand combat.
Mike Myers’s glorified act of hero worship leaves one hard-pressed to form any conclusion other than an infinitely positive one about Shep Gordon.
This almost weirdly resonant Stallone vehicle nets an attractive transfer that should please hardcore action fans and genre tourists alike.
So wantonly clichéd that to watch it is to explore the outer perimeters of one’s own tolerance for a specific type of feel-good sports film.
The material plays out like a particularly busy episode of Sons of Anarchy, possessing a peculiar joylessness that’s anathema to the success of films like this.
A dim anti-privatization parable that preaches a familiar strain of cynical, unchallenged self-righteousness in the face of widespread abuse of civil liberties.
Even amid the troubling trend of remaking films that have barely collected a speck of dust, there are still movies that can surprise you.
Walter Hill’s “anti-buddy” movie arrives on a disc as barebones as the feature presentation, but at the film’s best, it fondly recalls a time when dependably entertaining, mid-budget action was the rule and not the exception.
One of the reasons that translations of the book seem doomed to fail is the mishmash plot, a convoluted mess that, in this case, is far too demanding for such rinky-dink filmmaking.
You might have noticed that Hollywood’s superhero well is running a little dry.