Black Panther is a superhero film produced by Marvel Studios based on the Marvel Comic character of the same name. Directed by Ryan Coogler and written by Coogler and Joe Robert Cole, Black Panther tells the story of T’Challa (Chadwick Boseman) as he becomes the new king of Wakanda, an isolated but technologically advanced African nation that is powered by a mysterious metal called vibranium. Soon after becoming Wakanda’s king and Black Panther, T’Challa is faced with an enemy (Killmonger, played by Michael B. Jordan) who challenges his reign, and he must rally both friend and foe among the nation’s tribes in an effort to secure the safety and longevity of Wakanda.
I must confess at the outset that I am not a big fan of the live-action Marvel movies – I have only seen roughly half of the franchise’s films. But of the ones I have seen, Black Panther reigns supreme in the Marvel universe (sorry Guardians of the Galaxy). In fact, after my initial viewing, it quickly became one of my top five favorite superhero movies of all time. My lack of passion for most superhero movies (especially in the Marvel universe) is due in significant part to what I view as cookie-cutter plots and characters – yes, most of these films are very well acted and produced, but they generally involve low stakes and follow the same tropes that are trotted out in every predecessor. With Black Panther, the story is much more intimate, and unlike its Marvel counterparts, it has a truly distinct style and personality, both in terms of the plot and the characters.
What sticks out the most for me in terms of Black Panther setting itself apart from most other Marvel films is its writer/director – Ryan Coogler was the perfect choice to be the film’s creative visionary. The 32-year-old filmmaker has built his budding career on the foundation of captivating stories about African-Americans – in his debut Fruitvale Station, Coogler created a thought-provoking sense of anger and heartbreak, and in Creed, he reinvigorated the Rocky franchise with storytelling that was simultaneously nostalgic and fresh. In Black Panther, Coogler takes his creative abilities to new heights, constructing a movie that fits the mold for a superhero movie (e.g., action, suspense, and triumph), while also bringing a certain intimacy and sensitivity to its plotline that induces a beautiful connection between the audience and the characters. Black Panther is a movie about identity, and this is, at its core, a product of Coogler’s imaginative excellence.
As discussed above, Black Panther features some fantastic characters, which were brought to life by wonderful performances. In supporting roles, the film had many outstanding performances, including those from Lupita Nyong’o, Danai Gurira, Daniel Kaluuya, Martin Freeman, Angela Bassett, Forest Whitaker, and Winston Duke. However, the standout supporting performance was delivered by Letitia Wright, who was magnificent as Shuri, T’Challa’s younger sister – Shuri is both spunky and fierce, and Wright’s superb performance helped land her the EE Rising Star Award at this year’s BAFTAs. Further, I enjoyed Chadwick Boseman as T’Challa, but he didn’t blow me away. This is likely due to the fact that Michael B. Jordan simply stole the show – in fact, for his performance as the villain Killmonger, I believe Jordan should have been nominated for Best Supporting Actor. Aided by a deep backstory that slowly becomes more evident and emotional as the film progresses, Killmonger became one of the greatest Marvel film characters of all time – this is due unequivocally to Jordan’s marvelous performance. Black Panther is rated PG-13 for prolonged sequences of action violence, and a brief rude gesture.
Black Panther trailer: https://www.youtube.com/watch?v=xjDjIWPwcPU
Academy Award nominations for Black Panther:
Best Picture (Kevin Feige, producer)
Best Original Score (Ludwig Göransson)
Best Original Song – “All the Stars” (Music by Mark Spears, Kendrick Lamar Duckworth, and Anthony Tiffith; Lyrics by Kendrick Lamar Duckworth, Anthony Tiffith, and Solána Rowe)
Best Sound Editing (Benjamin A. Burtt and Steve Boeddeker)
Best Sound Mixing (Steve Boeddeker, Brandon Proctor, and Peter J. Devlin)
Best Production Design (Production Design: Hannah Beachler; Set Decoration: Jay Hart)
Best Costume Design (Ruth E. Carter)
I am a committed fan of the Rocky franchise, and in Creed, my love for the series lives on. Stallone’s original Rocky (1976) was a flawless film with a beautiful story. And although the series came to a fitting end for Rocky as a competitive boxer in 2006’s Rocky Balboa, the character itself endures—albeit in a new, supporting role—thanks to Ryan Coogler and Creed. This film is only Coogler’s second feature of his career. The 29-year-old USC alum debuted on the scene in 2013 with Fruitvale Station, a gripping tale of the real-life events surrounding Oscar Grant’s murder by a BART officer in Oakland, CA. That film, like Creed, features Michael B. Jordan as the lead character. These two guys are completely in sync as a team, and I sure hope they continue to work together in the future. 
Coogler’s direction in Creed is nothing short of masterful. He crafts a brand new, stand-alone story, but he does so in a way that pays picturesque homage to Stallone and his beloved Rocky series. In Creed, we see so many parallels between itself and Rocky, including a strikingly similar story arc—Coogler even delivers a romantic subplot that is charmingly reminiscent of Rocky and Adrian’s original affectionate connection. Additionally, one of my favorite scenes of the entire film features Donnie watching clips of his father’s infamous fight with Rocky Balboa on a big screen in his personal home theater—Donnie eventually stands up and shadow boxes with the two legends, and as the sights and sounds of the fight build with the music, I got a zillion chills. Coogler could not have drawn that scene up any better. Although this film is especially incredible to me (given that it builds upon some of my favorite sports films of all time), Coogler gives modern fans a new story that dexterously succeeds in its own individual right. I applaud Ryan Coogler for reinvigorating one of sports’ greatest tales.
As far as acting, the obvious starting point is Sylvester Stallone. In the modern age of cinema, Stallone is a household name because of his many action-packed, macho-man movies, such as The Expendables, Escape Plan, and Grudge Match. Most simply do not respect Stallone anymore as a credible performer, at least in a critically acclaimed manner—that all changes with Creed. The original Rocky (1976) garnered Stallone Oscar nominations for both Best Original Screenplay and Best Actor (the film was additionally nominated for eight more Oscars, winning three for Best Picture, Best Director, and Best Film Editing) and rightfully so.
Stallone showcased his immense acting abilities in the original film, and I was as pleased as anyone to see him steal the show in Creed—he reminded us just how good of an actor he really can be (this is a huge credit to Ryan Coogler for getting the best out of Stallone). His character’s attitudes, facial expressions, and mannerisms are vintage Rocky Balboa; yet, the character is more lonely and broken down than we’ve ever seen him. It is in his delineation of these downhearted emotions that Stallone succeeds. Hard to believe that 40 years after the original Rocky was released, Stallone will (most likely) be snagging an Oscar for his portrayal of Rocky Balboa.
With Rocky Balboa taking a more backseat role in Creed, Michael B. Jordan emerges as the story’s new lead, portraying Apollo Creed’s son Adonis. Jordan is a fantastic up-and-coming talent in Hollywood, and in Creed, he gives an incredibly gifted performance. Some have argued that Jordan was snubbed by the Academy. I do not believe this is true; even though Jordan delivered a brilliant portrayal in the film, the Academy’s five choices for Best Actor were simply too good this year. This fact does not lessen the importance of Michael B. Jordan’s performance, however. Adonis is a young, confused kid. He does not quite know who he is as a man, and this is visibly evidenced by his outward frustration and anger. Jordan nails these nuanced emotions to a tee, and in Adonis Creed, he has given film fans a new boxing hero. 
In addition to Jordan, Tessa Thompson gives a radiant performance as Donnie’s love interest Bianca, a hearing-impaired musician. As mentioned earlier, the romantic subplot of Donnie and Bianca mimics that of Rocky and Adrian from the original film, and Thompson’s beautiful acting is the fulcrum that holds this on-screen couple together—much like her performance in 2014’s Dear White People, Tessa Thompson delivers tenfold. Creed is rated PG-13 for violence, language, and some sensuality.
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