THE SYLVESTER SEMESTER PART II: Creed (2015)

Rocky Balboa’s story ended in, well, “Rocky Balboa.” Even someone as sequel happy as Sylvester Stallone realized continuing the story beyond that point was ridiculous. However, sometimes unexpected things happen. Ryan Coogler, an up-and-coming director who had won acclaim for “Fruitvale Station,” was apparently a big fan of the “Rocky” series, feeling a personal connection with the films. He had an idea for a new film that was as much sequel as spin-off. In other words, “Creed” was essentially “Rocky” fan fiction that became official. Even more surprising, “Creed” would be a hit with audiences and critics. The film even took Sylvester Stallone, a creative mind who rarely gets the respect he deserves, back to the Academy Awards for the first time in forty years.

When he was ten years old, Adonis “Donnie” Johnson discovered that his father was Apollo Creed, world famous boxing champion, and that he was the result of an extramarital affair. Taken in by Creed’s widow, Adonis spends his whole life trying to live up to his late father’s legacy. While working at a comfortable office job, he competes in underground boxing matches. After quitting his job and getting rejected by his father’s gym, he flies to Philadelphia. Meeting up with Rocky Balboa, he talks the former champ into training him. Soon, an oppretunity arrives for Adonis to prove his worth.

Ryan Coogler’s admiration for the “Rocky” series is obvious in “Creed.” The film features many callbacks to the franchise’s history. Rocky is still spending most of his time at Adrian’s. He still visits his late wife’s grave all the time, with Paulie recently joining his sister. Robert Jr. is living in Vancouver with a girlfriend. Mickey’s gym is a major setting. Adonis trains by jumping rope and chasing chickens. Moreover, “Creed” clearly imitates the original “Rocky,” in story and tone. Both films concern an inexperienced boxer eager to prove himself. He gets that chance when the reigning champ asks to fight him. There’s a love story and a montage of running down the street. Something else “Creed” has in common with “Rocky” is a naturalistic tone. Coogler shoots at a street level, with lots of ambient noise and atmosphere.

The film is named “Creed,” instead of “Adonis,” not just for commercial reasons. Throughout the film, Donnie struggles with his relationship with his deceased father. On one hand, he idolizes him, his bloodline initially driving him to become a boxer. After entering the ring, and his true parentage being revealed to the world, he starts to resent the name. That everyone assumes he’s a “Fake Creed” or a “Baby Creed,” someone coasting on his father’s legacy and unworthy of that name. By the end, he’s come to peace with it, during an especially touching sequence. Michael B. Jordan’s performance is excellent, as someone struggling with his birthright and fighting to prove himself.

“Rocky” and “Creed” both feature their titular boxer falling in love. But Tessa Thompson’s Bianca is very different from Adrien. A would-be R&B star, Bianca has a promising musical career. She also has progressive hearing loss, already using a hearing aide in one ear, that will eventually rob her of her hearing altogether. At first, she is resistant to Adonis’ advances. However, he slowly charms her. Their first date – getting Philly cheese steaks at a local restaurant – is an awfully sweet moment. When he visits her apartment, goofing around with her musical equipment, is another stand-out sequence. The film isn’t without its trumped up melodrama, such as when Adonis picks a fight at a club were Bianca is singing, but it’s also good at defusing moments like that. Such as Adonis not revealing his true last name to her sooner, which dissolves in a really sweet scene. The romance is the secret heart of “Creed,” Jordan and Thompson’s chemistry making the film better then it otherwise would’ve been.

“Creed” is about Donnie but the film still continues Rocky’s storyline. Balboa has settled into retirement, happily running his restaurant, his fighting days long behind him. He’s reluctant to train the younger Creed, as everyone he loves has left him, but is eventually talked into it. During filming, Stallone was the same age Burgess Meredith was during “Rocky,” making his transition into trainer a natural choice. This makes the training montages especially joyous. Yet the film gives Rocky a juicier arc then that. Midway through the film, he collapses suddenly. A trip to the doctor reveals that Rocky has cancer. At first, he’s disinterested in treatment, deciding he’s had enough of a life already. Soon, Creed convinces him otherwise. The film happily makes the comparison that both Rocky and Donnie are fighting. One in the ring, one for his life. Stallone’s Oscar nominated performance is restrained, lived-in, relaxed, but quietly touching.

Like the original “Rocky,” “Creed” doesn’t feature very many boxing matches. There’s a few brief scuffles in the beginning, a major fight at the mid point, and the championship bout at the end. Over these few scenes, Coogler shows a definite aptitude for action direction. For Creed’s first major fight, Coogler takes the camera inside the ring. During an impressive single shot, the camera zips in-between the two fighters, around the punches, whipping in and out of their corners. It’s the action high-light of the film. However, the final fight is still highly cinematic, an exciting sequence determined to make the audience feel the impact of the blows and the power of the punches. (The director’s handle on action is certainly good news for Coogler’s upcoming gig in the Marvel universe.)

“Creed” is clearly derivative of the very first “Rocky.” Both films even have similar endings. Then again, “Rocky” was derivative of other inspirational sports movie before it. With a strong directorial arm and a fantastic cast, Coogler, Stallone, and the rest of the team have created a worthy new addition to the franchise and a film that stands fantastically on its own. The odds seem good that “Creed” will launch a new franchise. Sly is eager to play his iconic role well into retirement age. Maybe Adonis can fight Ivan Drago Jr. in part two? That’d be cool. [8/10]

[THE STALLOWNAGE OF SLY: 2 outta 5]
[] Frank Stallone or Frank Stallone-esque Inspirational Music
[] Incapacitates or Kills Someone With His Body
[] Shows Off Buffness
[X] Social Outcast [Lonely Old Man]
[X] Sweaty, Veiny Yelling

Before Sylvester Stallone nearly won an Academy Award for "Creed," he seemed ready and eager to continue to ride his action movie legacy. Further sequels to "Rambo" and "The Expendables" were planned. After Sly's brush with Oscar gold, the veteran star's future plans seem to have changed. He's only currently announced future projects is a supporting role in the "Guardians of the Galaxy" sequel. While a "Creed" sequels seems a likely proposition, perhaps Sly is finally starting to slow down in his old age? He's more then earned it. Whatever the old guy gets up to next, I'm intrigued.

Thus concludes the Sylvester Semester Part II. Thanks for reading. I'll return soon, I promise.

THE SYLVESTER SEMESTER PART II: Rocky Balboa (2006)

There was a time when jokes were often told about how long running and increasingly unlikely the “Rocky” series had become. Yet, by 2006, a sixth “Rocky” film was the last thing anyone expected. Sylvester Stallone’s career had flat-lined, with an embarrassing turn in the third “Spy Kids” movie being his most notable recent role. In the past, adversity has been a great inspiration to Stallone. Out of this tough time arose “Rocky Balboa.” The sixth appearance of Sly’s trademark character would become an unexpected commercial success, revitalizing a career most thought was over.

Rocky Balboa is all washed-up. Adrian, his inspiration, has died. He has a tense relationship with his son, Robert Jr., who seems uncomfortable standing in the star’s shadow. The former champion makes a decent living running an Italian restaurant, named for his late wife, and often regales customers with old stories. Current heavyweight champ, Mason “The Line” Dixon, is criticized for his perceived lack of heart, that his victories have been unearned. A sports channel runs a program were a computer determines who would win a fight between past and present champs. Such a match between Dixon and Balboa gives both fighters an idea. Soon, Rocky is back in the ring, outmatched by a fighter younger, faster, and stronger then him.

Sylvester Stallone was ahead of the curve. These days, movie studios are determined to mine eighties and nineties nostalgia for all its worth, creating reboots and remakes to every seemingly moribund franchise. “Rocky Balboa” is, naturally, awash in nostalgia. The film begins with Rocky at Adrian’s grave. The first act is devoted to Balboa and Paulie touring the original film’s events. Mickey’s gym is in disrepair. The ice rink were Rocky and Adrian had their first date has been torn down. The parts of Philadelphia Rocky once called home have become a ghetto. These scenes aren’t just here to remind viewers of what happened in the first film. They establish what Rocky has lost. They also reground the series, properly returning the franchise to the original film’s tone without falling to part five’s maudlin sentimentality.

With Adrian gone, “Rocky Balboa” finds a new heart for the series. Much of the film is focused on Rocky’s relationship with his son. Robert Jr. has fled from the world of celebrity and stardom that his father occupies. Instead of being in athleticism, he’s working in an office building. When Rocky tries to set up a friendly dinner with his son, people constantly butt in to say hi to the former champ. Rocky’s decision to get back into the ring for the first time in 21 years gives his son pause. This leads to a notable moment in the film, when Stallone delivers a monologue about trying to find your place in the world, about struggling to survive only for what you have, is one of the best sequences in the film. Previously played by Seargeoh and Sage Stallone, Milo Ventimiglia essays the part of Rocky Jr. here. Ventimiglia is a good foil for Stallone, a cynical and grounded counter to Rocky’s perpetually hopeful but hopeless personality.

In addition to revisiting many of the first film’s locations, “Rocky Balboa” also brings back an unexpected character. Little Marie, the troubled girl Rocky used to walk home, returns. Now an adult with a somewhat troubled kid of her own, she works a dead-end job as a bartender. A chance meeting has Rocky taking Marie’s son, Steps, under his wing. Soon, both mother and son are working at his restaurant. It’s an interesting story decision, showing that Rocky’s past and present acts of kindness have reverberated throughout his life. It also, narratively, gives Stallone someone else to play off of in the movie’s early half. Geraldine Hughes gives a sweet, thoughtful performance as Marie.

Aside from their ridiculous names, Mason Dixon and the first film’s take on Apollo Creed don’t have very much in common. This is, seemingly, a direct contrast. While Creed was a braggart that gave little thought to his challenger, Dixon is a down-to-Earth man of few words. He’s annoyed that his skill has been dismissed seemingly because he hasn’t had to fight for it. He sees his fight with Rocky as a chance to show off his abilities to an apathetic public. Playing the character is real life boxing champion Antonio Tarver. Tarver’s performance is low-key, keeping most of his emotion under the surface. While it’s obvious that Tarver isn’t a professional actor, he works for the film, his stoic quality contrasting nicely against the emotional Rocky.

Why would a 60 year old Rocky Balboa get back in the ring? He’s far too old, his body stiffened by arthritis. The movie has to jump through some narrative loops to justify Balboa being able to get a license. If Rocky’s life parallels Stallone’s – and it does – the story is about the man proving he’s not a joke. “Rocky Balboa” hits many of the familiar beats. There’s the expected training montage, still set to Bill Conti’s “Gonna Fly Now.” There’s the climatic boxing match, with Rocky taking countless hits. Seeing a Sylvester Stallone old enough to collect Social Security re-entering the boxing ring should be ridiculous. Instead, it’s inspiring. His age has only made Rocky even more of an underdog. Moreover, Rocky (and, by extension, Sly) wants this more then ever. This is made clear in a key moment. Knocked to the mat, Rocky argues with himself to keep fighting. Because that’s what he’s always done. Because the strive to fight is what has driven him his entire life. Though far from subtle, it’s an effectively touching moment.

Sylvester Stallone, of course, directs his umpteenth come back. Sly’s direction is still somewhat heavy handed. He’s traded slow-motion with black and white inserts and dramatic flashbacks. Still, “Rocky Balboa” is in many ways a rousing success. It’s a touching, inspiring film. After the underwhelming “Rocky V,” it’s the considered and touching send-off the iconic character deserves. The story of Rocky proving he could still go the distance, that he still has the eye of the tiger, reviving Sylvester Stallone’s career is appropriate. Don’t ring the bell, this ain’t over yet, he yelled. And it wasn’t. [8/10]

[THE STALLOWNAGE OF SLY: 4 outta 5]
[X] Frank Stallone or Frank Stallone-esque Inspirational Music
[] Incapacitates or Kills Someone With His Body
[X] Shows Off Buffness
[X] Social Outcast [Washed-Up Boxer]
[X] Sweaty, Veiny Yelling

THE SYLVESTER SEMESTER PART II: Rocky V (1990)

The “Rocky” series was hugely financially successful and beloved in the seventies and eighties. This, however, didn’t stop people from making fun of the increasingly unlikely story turns the series would take throughout the Reagan administration. Over the course of four films, Rocky Balboa went from a Philly mook who got a lucky chance to the man who defeated Communism with the power of his punching. Maybe Stallone was aware of the affect the series’ changes had on the reputation of the films and himself. For “Rocky V,” he endeavored to take his most iconic character back to his roots. John G. Avildsen returned to direct. The script, meanwhile, hearkened back to the original film’s character driven tone. “Rocky V” was meant to be the grand finale for the ever-popular series. Instead, it would become the lowest grossing entry in the franchise.

Following his punishing bout with Ivan Drago, Rocky Balboa begins to feel the toll the years of pugilism has taken on his body. Repeated blows to the head has caused him to develop brain damage, effectively ending his boxing career. Paulie’s mismanaging of the family’s finances, meanwhile, has caused Rocky and Adrian to loose their fortune. Soon, the family is back on the streets of Philadelphia. Rocky’s son, Robert Jr., takes this the hardest. Rocky resists offers to re-enter the ring and instead begins to mentor Tommy Gunn, a promising young boxer. Tommy, however, is not as loyal as Balboa is.

It’s clear that Stallone’s goal with “Rocky V” was to bring Balboa back down to Earth. Within the opening half-hour, he’s retired from boxing and has lost his millions. He dons his black hat and jacket again, the story returning to Philadelphia. This is a smart idea on paper, especially after the excesses of parts three and four. But the execution leaves something to be desired. To see Rocky go from convincing all of the Soviet Union to cheer for him to stammering his ways through the streets of Philly makes for a disconcerting contrast. Moreover, Stallone’s script reveals a previously unseen mawkish side. In flashbacks, we see Mickey detail his love for Rocky and give his student a pendent of a boxing glove. The film is primarily concerned with the relationships between the characters, fathers and sons, but handles this in an awkward, heavy-handed fashion. It seems, after a decade of fanciful overindulgence, Sly was unable to recapture the naturalistic elements of the original.

Removing Rocky from the boxing ring removes the conflict from the story. Instead, the protagonist shifts into a passive role. The actual boxing is done by Tommy Gunn, the young boxer Rocky mentors. The obvious plan was to shift Rocky into a Mickey-style role. This doesn’t work for a few reasons. Gunn is not a compelling character. Driven by anger based in an abusive childhood, Gunn is all bluster and little heart. Tommy Morrison’s acting as Gunn vacillates between ridiculously over-the-top and inexpressibly flat. The story bends in odd directions to justify Gunn’s role. Rocky inviting the kid so totally into his life, even into his home, seems unlikely. These factors cause Gunn’s eventual betrayal of Rocky to lack impact. He trades Rocky’s heart-and-soul approach for the money grubbing ways of George Washington Duke, a fight promoter obviously inspired by Don King. Gunn seemingly goes from being Balboa’s trusted student to his sworn enemy over the course of a montage.

That Rocky has a somewhat fatherly relationship with Tommy Gunn is intentional. This is meant to mirror the other main plot thread of the film: Rocky’s relationship with his actual son. Rocky Jr. has seemingly aged five years in-between movies, so the part could be played by Stallone’s own son, Sage. Sadly, Sage is nearly as awkward a performer as Tommy Morrison. His take on the character is petulant and whining. The audience is utterly apathetic to Junior’s adventures at school, which has him standing up to bullies and befriending a girl. (This includes getting a really embarrassing earring.) Rocky ignoring his son during a time of crisis, to support the brutish Gunn, seems out of character for the loving, family-first Balboa. The two eventually make up mid-way through the film, the script awkwardly disposing of the plot point early on.

In the years between winning a Best Director Oscar for “Rocky” and making “Rocky V,” John G. Avildsen had mostly occupied himself with the “Karate Kid” trilogy and flicks like “Lean on Me.” The documentary edge Avildsen brought to the original is almost entirely absent from this fourth sequel. You get occasional peaks of it, such as sweeping shots devoted to the streets of Philadelphia, set to then-modern rap music. Usually, Avildsen deploys a heavy handed style, making extended use of montages and flashing imagery. This is most apparent during the climax, a street fight between Rocky and Tommy Gunn. While down on the ground, Rocky sees images of Mickey cheering him on. It’s a technique that borders on obnoxious, being distracting at the very least.

“Rocky V’s” heart was in the right place. It probably would’ve been easy for Stallone to continue the crowd-pleasing formula utilized in the middle sequels. (Though Rocky was running out of mentors to avenge…) Instead, the star and filmmaker decided to get back to the franchise’s roots. Maybe Stallone was hungry for critical respect, after spending most of the eighties making glorious, populist trash. However, both Stallone and Avildsen lack the graceful touch that made the original a classic. The film was laughed at by critics and attracted a smaller audience. Even Sly later expressed disappointment in it. Originally meant to conclude with Rocky’s death, everyone got cold feet at the last minute. Can you imagine the punching bag of the franchise being the definitive end of Rocky’s story? That would’ve made “Rocky V” an even bigger bummer. [5/10]

[THE STALLOWNAGE OF SLY: 5 outta 5]
[X] Frank Stallone or Frank Stallone-esque Inspirational Music
[X] Incapacitates or Kills Someone With His Body
[X] Shows Off Buffness
[X] Social Outcast [Washed-Up Athlete]
[X] Sweaty, Veiny Yelling

THE SYLVESTER SEMESTER PART II: Rocky IV (1985)

It’s hard to believe that Sylvester Stallone once envisioned “Rocky” as simply a three part story. The continued box office success of the boxing series, and Stallone’s inescapable connection with the character, meant Rocky would have many more matches. “Rocky III” saw the series graduate from naturalistic drama to theatrical action flick. “Rocky IV” would push the series even further in that direction. In the process, Sly would make the most notorious of the “Rocky” films, cementing the series’ somewhat unearned status as a campy relic of the Cold War era.

Rocky Balboa is happily retired from boxing, enjoying his millions with his wife, kid, and heterosexual life partners Pauley and Apollo Creed. Meanwhile, a challenger emerges from the Soviet Union. Ivan Drago is a result of Soviet engineering, the perfect boxing machine. Wanting to prove that he’s still got it, Apollo Creed agrees to an exhibition fight with Drago. During the bout, Drago beats Creed to death. Feeling responsible for his friend’s demise, Rocky agrees to face Ivan Drago in the ring. Will a rigorous training regime be enough for Rocky to defeat the towering titan of Soviet power?

“Rocky IV” was released the same year as “Rambo: First Blood Part II,” a film which put Sylvester Stallone’s Cold War politics out in the open. Inspired by the legendary Joe Louis vs. Max Schmeling matches, Stallone thought up an unlikely scenario where Rocky would battle a representation of the U.S.S.R. For Stallone though, the struggle between democracy and Communism is indistinguishable from personal revenge. In “First Blood Part II,” the death of Co spurns on Rambo’s war against the Vietnamese. In “Rocky IV,” the death of Apollo Creed forces Rocky to face down Ivan Drago. This notion props up a blatantly, gratuitously jingoistic script, where Rocky’s goodness stands against the evils of the Soviet Union. His brave effort even, eventually, wins over the Russians.

Making “Rocky IV” even harder to swallow is how the film is easily the goofiest of the “Rocky” series. Within the opening minutes, Rocky presents Paulie with a birthday present: A robot. A robot which Paulie then programs to have a female personality, which raises some interesting questions. This is only the most obvious ridiculous element of the film. Apollo Creed rides into the ring atop a giant transforming golden calf. Simultaneously, James Brown sings a rousing rendition of “Living in America.” After Apollo’s death, we’re treated to a ten minute long montage of Rocky driving in his car, while flashing back extensively to the previous movies. Insanity like this makes the movie’s other silliness seem more manageable. In a world where Paulie has a robot, the montage comparing Rocky’s all natural training regime to Drago’s steroid and machine assisted training seem subtle. It makes Rocky winning over all of the Soviet Union seem plausible.

Stallone spent most of “Rambo” as a grim-faced killing machine until the final minutes, when he delivered a speech summing up the movie’s themes. This was in contrast to the humanistic qualities he displayed during his three previous bouts as Rocky Balboa. “Rocky IV” sees Sly’s other trademark character undergoing some big changes. Rocky was previously a mushed mouth simpleton. He spoke from the heart because he didn’t know any other way to say things. In “Rocky IV,” the Italian Stallion has suddenly developed a verbose side. While debating with his wife about whether or not he should fight Drago, he expounds on his side of things. (Compare this to the similar debate in “Rocky II” to show how far Balboa’s come.) After defeating Drago and winning over the evil Communists, he delivers a long speech about how anybody can change. It’s clear that Rocky can change too.

Along with the series’ general content, the villains of the “Rocky” films have gotten increasingly outrageous. Apollo Creed was just a braggart and a showman. Clubber Lang was psychotically obsessed with beating Rocky. Ivan Drago is a full-blown supervillain. We know nothing about his life other then he’s been created by the Russians to show Soviet superiority. Drago is played by Dolph Lundgren, in his first major role. At 6’5, heavily muscled, and featuring an exact Aryan appearance, Dolph perfectly inhabits the part. What makes Drago kind of interesting is his odd vulnerability. He seems frightened when asked about possible steroid abuse. When ushered into the ring with Apollo, his body language is clearly confused. After Rocky puts up more of a fight then expected, he breaks character, informing his managers that he fights for himself. Lundgren’s actin abilities rarely get praised but he does well here, playing an unstoppable juggernaut but allowing some humanity to show through.

You know what I miss the most about eighties action movies? Their economical pacing. “Rocky IV” runs a manageable 91 minutes. Its script construction is clear and concise. Once Drago beats Apollo to death, it’s not too long before Rocky is training, before we get to the fight. Stallone, naturally, also wrote and directed the film. The fight scene shows the way his directorial style has evolved. During the match, he continues to utilize slow motion and dramatic montages. An especially effective moment has both fighters being punched in the face, each face lingering in the frame. It’s still fairly ridiculous that someone of Rocky’s size could defeat Drago. (More so, once you read that a single punch from Dolph put Stallone in the hospital.) Still, that’s the magic of movies.

In addition to being jingoistic and ridiculous, “Rocky IV” is also blatantly derivative of “Rocky III.” In both, a powerful new adversary kills Rocky’s mentor, forcing him to come out of retirement to fight for revenge. In both, a powerful new training regiment leads Rocky to victory. Formula, sometimes, works. “Rocky IV” would become the highest grossing entry in the series and, thanks to its sheer goofiness, would develop a fond cult following. I think I love three a little more but four is certainly a massively entertaining flick. [7/10]

[THE STALLOWNAGE OF SLY: 4 outta 5]
[X] Frank Stallone or Frank Stallone-esque Inspirational Music
[X] Incapacitates or Kills Someone With His Body
[X] Shows Off Buffness
[] Social Outcast
[X] Sweaty, Veiny Yelling

THE SYLVESTER SEMESTER PART II: Rocky III (1982)

During the production of “Rocky II,” Sylvester Stallone gave an interview where he talked about the possibility of a third film. He said that “Rocky” was likely to be a trilogy, with the story probably concluding with Rocky’s death. Considering we now live in a world with at least seven “Rocky” movies, these comments come off as comical. By the time “Rocky III” was released, Sylvester Stallone’s approach had changed. It was now the big, bold eighties. Sly was now a superstar. “Rocky III” adapted to these changes, turning the franchise into the beast we now remember it as.

Following his victorious second bout with Apollo Creed, Rocky Balboa becomes the Champion. His reign as the best boxer in his field continues for six years. Rocky becomes a celebrity, buying a mansion for his wife and son. He’s also becomes an icon, thanks to countless merchandising deals. A new challenger emerges, far hungrier for the championship. Clubber Lang’s determination to best Balboa concludes when he soundly beats Rocky in a match. He also indirectly causes the death of Mickey. Beaten and broken, Rocky now trains with Apollo, looking to reclaim his desire to win.

“Rocky III” represents the eighties-fication of Rocky Balboa. The public’s perception of the series, with its endless sequels and increasingly unlikely boxing matches, was cemented here. The surroundings are bigger. Rocky gets over the stage fright seen in part two, becoming a commercial star. He’s no longer an outsider, with a wife and kid, surrounded by friends and family. The shy Adrian of the original films is gone, replaced with a classy and outspoken woman. The stakes of the series have changed too. Rocky now fights an increasingly overblown enemy, to avenge the death of his trainer. The slow motion laden direction, more outrageous training montages, and even bigger fight scenes makes the transformation clear. The naturalistic drama of the original is long gone. “Rocky” is now a crowd-pleasing blockbuster, belonging totally to the decade.

If one believes that Rocky Balboa’s story arc is directly related to Sylvester Stallone’s career, “Rocky III” represents another major change. Rocky has won and is resting comfortably at the top. Following the success of “Rocky II,” Stallone’s status as a box office star was confirmed. Yet Rocky looses his initial fight with Lang because he’s lost the hunger. The Eye of the Tiger, as Apollo and the infectious theme song put it. An intense argument with Adrian and Apollo’s training regime allows Rocky to regain his fighting spirit. Stallone, meanwhile, was fearful of loosing the drive that got the first “Rocky” made. In time, Sly would sell out, making shitty movies for big paydays. But he wasn’t willing to compromise yet and that desire shined through in the script for ‘Rocky III.”

The first two “Rocky” movies had a colorful villain. Apollo Creed was definitely a showman and a braggart. He also had some common humanity, as shown by his regret and anger in “Rocky II.” The third “Rocky” film, however, has a comic book supervillain as an adversary. Clubber Lang snorts fire. All his dialogue relates to his desire to humble Balboa, except for a line about propositioning Adrian. He trains in a dungeon like basement, yelling as he does crunches. Mr. T, the once and future B.A. Baracus, is a flamboyant performer of limited range but intense charisma. He plays Lang as an iron-willed sociopath, whose entire life revolves around crushing his enemy. It’s not especially subtle or realistic. However, it’s certainly entertaining. (Despite his previous appearance in “Penitentiary II,” Mr. T gets an “And Introducing” credit.)

The decision to kill off Mickey also represents Sly’s need to continuously up the series’ stakes. Burgess Meredith’s exit produces a moment both saddening and comical, when Stallone blubbers unintelligibly. It also opens the door for Apollo Creed becoming Rocky’s trainer. Once bitter enemies, Apollo and Rocky soon become inseparable bros. He moves Balboa to L.A., training him a gritty gym. His attempts to teach Stallone rhythm stymies at first, rather comically. Before too long, Creed and Balboa are running on a beach in slow motion. Their tiny shorts and shirts ride up, revealing their glistening, buff bodies. They then leap into each other’s arms, amid the splashing waves. Yes, it’s pretty hilariously overwrought and properly homoerotic. Yet it still makes me laugh too much not to love.

As with the first sequel, Sylvester Stallone also directed “Rocky III.” The directorial style is similar, utilizing quite a bit of slow motion and plenty of quick cutting montages. This is most apparent during the film’s boxing matches. The first match is over quickly, emphasizing the punishing power of Lang’s punches. The climatic second round features more build-up to the actual fight. Once it begins, Stallone eagerly cuts between the inside of the ring and the outside. We see the struggle between the two fighters, the camera weaving around them. We also see Rocky’s friends, family, and the announcers watching from the audience. Clubber Lang, of course, doesn’t go the distance. Rocky puts him down in a few rounds, having regained the Eye of the Tiger. It’s slightly underwhelming, that the match doesn’t last longer. Still, after establishing Lang as the ultimate bad ass, it’s somewhat satisfying seeing Rocky defeat him.

“Rocky III” is a much sillier movie then its predecessors. The cameo from Hulk Hogan as pro-wrestler Thunderlips should make that much apparent. It lacks the dramatic soundness of the first one or the smart sequel writing of the second. Instead, it’s a cornball, crowd-pleasing bit of boxing spectacle. That gives it value in its own way. Any movie that brings us Survivor telling us to meet the challenge of our rivals can’t be all bad. [7/10]

[THE STALLOWNAGE OF SLY: 4 outta 5]
[X] Frank Stallone or Frank Stallone-esque Inspirational Music
[X] Incapacitates or Kills Someone With His Body
[X] Shows Off Buffness
[] Social Outcast
[X] Sweaty, Veiny Yelling

THE SYLVESTER SEMESTER PART II: Rocky II (1979)

In the final minutes of “Rocky,” after Balboa goes the distance with Apollo Creed, a reporter asks him if there’s going to be a rematch. There was no way for Sylvester Stallone to know that his 1975 film would be popular enough to spawn a sequel. Yet he seemingly recognized the possibility even at the time. Released three years after the original, “Rocky II” was also massively successful, becoming the third highest grossing film of the year. The success of part two is assuredly the reason why Sylvester Stallone would become so open to sequels throughout his career. The public wanted more of the Italian Stallion and Sly was more then happy to give the public what they wanted.

“Rocky II” picks up right where the original left off, to the point that its opening moments are the same as the first film’s closing moments. While both fighters are battered and bruised, Apollo Creed demands a re-match with Rocky Balboa. Rocky, meanwhile, is reluctant. He marries Adrian and soon conceives a child with her. She hopes Rocky won’t have to fight again. However, Balboa has little success in his post-boxing life. This, combined with Creed’s much publicized goading, has Rocky back in the ring before too long.

Once again, the life of Rocky Balboa mirrors the life of Sylvester Stallone. Rocky went the distance and Stallone made a hit movie. Afterwards, Rocky has a disastrous go as a commercial pitchman before working at a meat packing plant and Micky’s gym. After “Rocky,” Sly tried other films like “F.I.S.T.” and “Paradise Alley.” Both underperformed, as the public demanded more Rocky. Meanwhile, in the film, outside forces compel Balboa to fight once again, despite his desire to retire. If the first “Rocky” was about the eponymous character proving he wasn’t a bum, the sequel is about him proving that first fight wasn’t a fluke. “Rocky II” pulls a surprising amount of pathos from this set-up, as Balboa struggles to start a new life before he has to do what he always does: Fight, to survive, to prove to himself and others that his life is worth living.

While even more of a crowd-pleaser then the first, “Rocky II” still has more in common with the original then the increasingly eighties-ified further sequels. The romance between Rocky and Adrian continues to be a pivotal part of the story. His endearingly awkward proposal is only the first of several genuinely sweet moments in the sequel. The chemistry between Stallone and Talia Shire continues to be paramount to the film’s success. Rocky’s self-deprecating ways, Adrians’ continued pronouncements of love, and their shared joy at having a child all tug at the viewer’s heart. While lesser films would make someone like Adrian a bad guy for wanting to keep her husband away from his calling, the sequel makes it clear that her concerns are strictly based in love and worry. When Adrian falls into a coma following a difficult birth, it gives Rocky one more thing to fight for. Now, he’s fighting for his family, for the people he loves the most.

In the first film, Apollo Creed was barely a character. He was mostly a disinterested champ, an obstacle for Rocky to overcome. The sequel gives an expanded role to Creed, making him a surprisingly more nuanced character. The champ receives hate mail in the weeks following the first film’s match. That he cheated or bought his victory. In an odd way, Creed is facing a similar dilemma to what Rocky faced in part one. He has to prove himself, to show that he still has what it takes. Creed is happy to play the villain, mocking his opponent on television and at press conferences. (Amusingly, Balboa is reserved and self-effacing in these moments.) Yet the sequel roots the villain’s drive in a realistic emotion. Carl Weathers, looking more swole then ever, gets a chance to really ham it up without loosing a bead on Creed’s humanity.

Beyond literally featuring a rematch between the first film’s combatants, “Rocky II” also happily doubles down on the fan-favorite sequences from part one. There’s another training montage, with Rocky triumphantly leaping up the steps at the Philadelphia Museum of Art, while flanked by a crowd of adoring fans. It all leads up to the second showdown between Creed and Balboa. Stallone, who returns to directing after “Paradise Alley,” brings a less melodramatic hand to this one. He maintains the naturalistic tone of the first. The fight, however, definitely has some memorable moments. After especially powerful blows, the film slows down, matching the dazed mindsets of the battered boxers. The victory is dramatically framed, Rocky and Apollo climbing up the ropes, attempting to regain their footing before either get counted out. It’s not as subtle as the first but remains awfully exciting and satisfying nevertheless.

Part two also gives us way more of Burgess Meredith’s Mickey. His softer side shows in a few more scenes, even while having Stallone do things like chase after a chicken. It’s not as fresh as the original but Stallone’s sequel makes this further exploration of his most famous character’s life worth it. If only for the small scenes like Rocky getting a priest’s blessing before the big match or to see him giving his dog a bath. By mixing the more down-to-earth elements of the original with the crowd pleasing theatrics that would characterize the future sequels, “Rocky II” gives fans the best of both. It’s an incredibly satisfying sequel. [8/10]

[THE STALLOWNAGE OF SLY: 5 outta 5]
[X] Frank Stallone or Frank Stallone-esque Inspirational Music
[X] Incapacitates or Kills Someone With His Body
[X] Shows Off Buffness
[X] Social Outcast [Struggling Fighter]
[X] Sweaty, Veiny Yelling

THE SYLVESTER SEMESTER PART II: Rocky (1976)

I devoted most of last August to THE SYLVESTER SEMESTER, a two and a half week marathon of the films of Mr. Sylvester Stallone. Considering Sly’s own tendency towards sequels, I thought it would be appropriate to, a year later, return to the same subject. While the first Sylvester Semester was intentionally devoted to the one-offs and more oddball corners of Stallone’s filmography, part two will focus primarily on his big franchises. What’s most interesting about this is it’s very easy to draw a parallel between the lives of Stallone’s most famous characters and his own career. It’ll be fun to watch how that progresses.

I’ll be retaining the same checklist from last time, of course. This should be a trip worth making. Welcome to THE SYLVESTER SEMESTER PART II.

“Rocky” is the ultimate underdog story and that extends to the production as well. It’s a well known anecdote that you hardly need me to repeat. Sylvester Stallone, a bit actor with few notable credits to his name, wrote the script in a burst of creativity over three days. The studios were interested but they wanted to cast a big star like Robert Redford or Ryan O’Neal. Stallone, however, refused to sell the script unless he could play the lead role. The movie, and Sly, bested the odds. “Rocky” was a huge hit and won three Academy Awards, including Best Picture. Moreover, it became an immediately iconic film, making Stallone an A-lister. 40 years later, does the film still resonate?

Rocky Balboa is a small time boxer in Philadelphia, working hard to win fights that garner little attention and smaller crowds. In his day job, he’s hired muscle for a loan shark. Despite his mumbly speech and simple life, Rocky has big dreams. He woos Adrian, a shy employee at a pet store and the sister of a friend. Meanwhile, the challenger to boxing champ Apollo Creed’s title injuries himself. Creed has to choose someone to fight in the championship. Thinking it’ll make for an easy match, he chooses Balboa. Rocky, however, sees this as his chance to prove himself.

Considering its long legacy of increasingly outrageous sequels, it’s easy to forget that the original “Rocky” isn’t a big action film at all. Instead, it’s a small scale, naturalistic drama. The focus is on the characters and their lives, not extended pugilism. The opening credits don’t feature any inspirational music. Instead, it’s a quiet sequence devoted to Rocky walking through his town. Many scenes focus on the boxer as he ambles from place to place. He escorts a young girl home, telling her to stop hanging out with a bad crowd. There’s a major focus on Rocky’s corner of Philadelphia. It’s a poor neighborhood, bordering on a slum. “Rocky” is a movie rooted in realism, about people and the places they live.

Throughout his career, Stallone would specialize in outsiders and underdogs. It’s a habit that started here. Rocky Balboa is the original Stallone-ian outsider. Like many of those later characters, Rocky is somewhat eccentric. When alone in his dumpy apartment, he talks to his pet turtles and practices dialogue in the mirror. Balboa can also be pretty dopey and he’d be the first one to admit it. Unlike future Stallone heroes, who commit murder without a moment’s notice, Rocky is ultimately a gentle soul. He’s reluctant to rough up the people his boss tells him too. When Pauly pisses him off – which is often – he never hits the guy. Balboa may be a formidable opponent in the ring but in real life, he’s a quiet guy. Stallone’s performance is also naturalistic, making it clear he’s basically playing himself.

“Rocky,” of course, is also a love story. The relationship between Rocky and Adrian is another odd aspect of the movie. Balboa’s courting process with Adrian involves him telling her lame jokes several times a day. She, meanwhile, seems barely interested at first. She seemingly only goes out on a date with him as a way to escape another of her brother’s temper tantrums. However, Rocky wins her over with his persistence, showing that he may be a palooka but he’s a palooka with heart. The real reason Rocky and Adrian fall for each other is because they’re both outsiders. He’s a weirdo with failing dreams. She’s a plain, painfully shy girl. Rocky chooses Adrian, seeing something special in her. Their love story is the actual driving force in the film. By the end, Rocky doesn’t even care if he won the fight or not. He only cares that Adrian knows he loves her.

Despite the important role he would play in future entries in the series, Apollo Creed’s part in this original film is surprisingly small. Throughout most of the film, he mostly appears on television, giving interviews. During the scenes in his office, he comes off as all business, a champ assured of his abilities, becoming idle in his victory. A deliberate contrast is made between Creed and Balboa. Rocky trains tirelessly, during those widely parodied montages. Aside from the raw egg eating, meat beating, and running, this shows how hard Rocky is working. How much he wants this. Apollo, meanwhile, doesn’t take the challenger seriously. He sees the fight as a formality on the road towards reclaiming the championship.

Creed’s assumption is quickly challenged when, in the first round, Rocky knocks him down. After a punishing first round, Creed’s crew mentions that Rocky thinks this is a fight, not a show. Like the rest of the film, John G. Avildsen’s direction remains grounded during the fight. He emphasizes the punishment the fighters take and how long the match goes on. The moment that most zeroes in on this approach, another often referenced scene, occurs when Rocky has Mick cut his swollen eyelids, leading to a bright spurt of blood. Avildsen and Stallone’s realistic approach continues up until the end. No, the plucky underdog doesn’t win. But that’s not what Rocky is here to prove. He goes the distance, showing the world he’s not a bum.

“Rocky” is a fairly focused film, primarily concerned with Rocky and Adrian. However, there’s a few unforgettable supporting turns. Burgess Meredith as Mick reintroduced the veteran actor to a new audience. Mick’s gruff delivery and prickly exterior didn't make him a traditional mentor, at least at the time. However, the way Meredith croaks his dialogue makes Mick oddly lovable. Burt Young as Paulie is even rougher around the edges. The moments when he destroys Adrian’s Thanksgiving dinner or wrecks Rocky’s apartment are hard to forgive. However, Young proves that Paulie has real pain behind his asshole actions. One most also note Joe Spinell as Gazzo, who brings all his expected greasiness to the part of a two-bit gangster.

The number of contributions “Rocky” has made to wider pop culture are almost impossible to count. Beyond the most famous elements – Bill Conti’s still amazingly inspiring score, the training montages, Stallone’s incoherent shouting – the film’s underdog story line would spawn countless imitators. (Avildsen would revisit the formula himself, with “The Karate Kid.”) This wave of “Rocky” wannabes would make sure that the inspirational sports movie would never go out of fashion. Aside from its iconic elements, “Rocky” remains a well assembled drama, genuinely touching and filled with fine performances. [8/10]

[THE STALLOWNAGE OF SLY: 5 outta 5]
[X] Frank Stallone or Frank Stallone-esque Inspirational Music
[X] Incapacitates or Kills Someone With His Body
[X] Shows Off Buffness
[X] Social Outcast [Underdog Boxer]
[X] Sweaty, Veiny Yelling