Sicario is an action crime thriller directed by Denis Villeneuve, with a screenplay by Taylor Sheridan. Set within the drug war that spreads across both sides of the US-Mexico border, Sicario follows Kate Macer (Emily Blunt), a by-the-books FBI agent who is recruited to participate on a special governmental task force for a black-ops mission behind enemy lines. Joining Matt Graver (Josh Brolin), a stress-free special agent, and Alejandro Gillick (Benicio del Toro), a mysterious “consultant” with unknown motivations, Kate sets out on a mission that questions everything she believes in.
This film is not about the US’s “war on drugs.” Sicario is 100% about the drug war—a meticulous difference that must be recognized. This subject matter has become more and more popular for the film industry in recent memory, but that was not always the case. In 2000, Steven Soderbergh gave us Traffic, an Oscar-winning film that broke new ground as it pertained to the drug-cartel crisis at the border; however now, in present day, this topic is seen quite often. In 2013, there was the critically acclaimed documentary Narco Cultura, which was nominated for the Grand Jury Prize at the 2013 Sundance Film Festival. And aside from Sicario, 2015 also brought us Cartel Land, a gripping documentary about vigilante groups on each side of the border fighting back against the cartels—this film earned an Academy Award nomination for Best Documentary. I mention the recent history of this genre to highlight the fact that director Denis Villeneuve does not tackle some innovative topic with Sicario. However, this film quickly became one of my absolute favorites from the year because Villeneuve and his cinematographer (Roger Deakins) have made the trek to the well of Mexican-American drug-war films and come back with a unique perspective that is both spine tingling and visually stunning.
Villeneuve and Deakins begin the film with incredibly horrific images, and these same types of gruesome illustrations are pervasive throughout. We see the walls in a seemingly empty house on the Arizona-Mexico border torn down to reveal tens of dead bodies; when the task force strolls through downtown Juarez, dead bodies hang from bridges. These moments set the tone for Villeneuve’s film. We as Americans have many anxieties and speculative expectations about our border relations with Mexico as they relate to the drug war—via these visceral images, Villeneuve and Deakins validate those fears. This is war; it is real, and it is not pretty! Another aspect of the film that stands out is its take on deceit and duality. 
With the exception of Kate, it is difficult to pinpoint or even comprehend the characters’ motives. It is never revealed who Matt Graver even really works for—he is a “special agent,” but for who? And Alejandro is as enigmatic as they come. Villeneuve previously tackled morally duplicitous characters in Prisoners (2013), but he expands upon that examination with far more depth in Sicario. All in all, Villeneuve crafts an inimitable vision in Sicario, and cinematographer Roger Deakins paints that picture with his camera in the most instinctive ways possible.
The acting in Sicario is absolutely first-rate. The stars are an incredibly talented trio: Emily Blunt, Benicio del Toro, and Josh Brolin. Brolin portrays special agent Matt Graver, a seemingly relaxed soldier who has apparently found his calling in the drug war. When he first meets Kate, he strolls into FBI offices wearing the epitome of casual dress: flip-flops. Behind his laid-back exterior, though, is a menacing man—Matt takes his actual work serious, and if you are not on board, then in his mind, GTFO! Brolin has made a pretty solid career out of playing this type of character—the ostensible douche—but that is because he is such a talented actor. I always bought into Brolin in this role, and although his significance is laconic, his performance is adroit.
The film’s best performances come from Blunt and del Toro. Emily Blunt is by far one of my favorite actresses (she is incredibly talented and undeniably fetching), and in 2014, she made her mark as a cinematic badass with her role as Sergeant Rita Vrataski in Edge of Tomorrow. That performance gained her action-star credibility, but her character could not be more different in Sicario. Kate Macer plays by the rules. She needs formulaic process and boundaries. She needs a clear-cut objective. Thus, Kate is in for a rude awakening when her mission with Matt and Alejandro blurs the mechanical lines she so desperately requires. In one scene, Kate asks Matt, “What’s our objective?” Matt responds, “To dramatically overreact.” This really is the task, and it makes Kate uncomfortable. In another scene, Kate discusses tracking down the leader of the cartels, to which Alejandro responds, “Every day I cross that border, people are kidnapped with or killed with his blessing. To find him would be like discovering a vaccine.” 
In this moment, Kate realizes not only the gravity of her mission, but also the confliction of it—the drug cartels keep these task forces in business, so at some point they are necessary. Although I initially thought Blunt’s character was a bit too dry and unappealing, I now realize how important she is. Blunt’s performance was not showy and dramatic—the kind that will garner you Oscars. But she was calculated—effective and honest. Blunt succeeded in that endeavor. 
As far as Benicio del Toro, he absolutely should have been nominated for an Oscar for Best Supporting Actor. The complexity of his character required not panache, but enigma; it needed not loquaciousness, but quiet subtleties. Del Toro delivered with perfection. Two scenes stood out for me in regards to his performance. At one point in the film, there is a wildly gripping moment during a traffic jam on the drive back to the US from Mexico. As the tension builds, Alejandro is at the center of the commotion. Benicio del Toro thrived in this moment. Additionally, the climax of the film (which I will not spoil here) features del Toro at his best—that one scene makes the entire viewing experience worth it! Sicario is rated R for strong violence, grisly images, and language.
Sicario trailer: https://www.youtube.com/watch?v=G8tlEcnrGnU
Academy Award nominations for Sicario:
Best Cinematography (Roger Deakins)
Best Original Score (Jóhann Jóhannsson)
Best Sound Editing (Alan Robert Murray)
Previous movies on the countdown of the Top 15 Films of 2015:
- Ex Machina
- Spotlight
- Straight Outta Compton
- Kingsman: The Secret Service
- Steve Jobs
- Creed
- ’71
- Room
- Star Wars: The Force Awakens
- Beasts of No Nation
- The Martian
This movie is not your run-of-the-mill sci-fi. This movie is an experience unlike many others I’ve ever had—it’s a psychological thriller that is more of a character study than anything else. I have enjoyed a range of other “artificial intelligence” films in the past, such as Steven Spielberg’s A.I. (2001) and I, Robot (2004), but those movies never quite accomplished what Ex Machina has—in my opinion, the depth and genius of Ex Machina starts with writer/director Alex Garland. Garland cemented himself in the industry with his striking screenplay for the horror film 28 Days Later (2002), and in that script, he created one of the finest films in the horror genre; however, his story never became too “tropey,” meaning it never seemed cliché. In Ex Machina, he has done the same thing—only better! The plot of the film leaves the door wide open for a filmmaker to shell out the same boring motifs that already saturate this genre. Thankfully, Garland avoided this temptation and delivered a film that this genre should look to as the modern standard.
I do not want to sugarcoat anything—the film definitely gets incredibly philosophical, pondering what really makes us human. It is a lofty idea to conceptualize, but Garland does so in stunning fashion. His visuals are remarkable (Ava was part live-action and part-CGI), and his characters are even more spectacular. For starters, Ava’s entire existence and ability to learn how to interact like a human sets the tone for the twists, turns, and overall message of Garland’s film. She constantly poses thought-provoking questions to Caleb during his “Turing Test” research. Little by little, these questions create struggles for Caleb that manifest in him questioning his true role in Nathan’s experiment—he especially wonders about his very own existence. 
Speaking of Nathan, he is the most captivating character for me. He is a billionaire tech-genius with seemingly enough resources to live a lavish life. But the lavishness is not what one would imagine—he lives in a beautiful home (which doubles as a research facility), but he is completely secluded from the real world. In this home he is imprisoned, both mentally and physically, and he appears to be nothing more than a reclusive savant/madman. He claims to create Ava for purely scientific purposes, but it is apparent that his motivations are to create the perfect woman—this is his downfall.
Aside from Garland’s filmmaking vision, Ex Machina impresses from an acting standpoint. I am a huge fan of Domhnall Gleeson—he is incredibly charismatic in every role he takes on, but in Ex Machina, he ends up being more of a placeholder than anything else. It is worth noting that although Alicia Vikander and Oscar Isaac outperform Gleeson, this is not due to the latter’s own acting abilities, but instead the fact that Garland left the real story arcs to Ava and Nathan. Vikander nails her portrayal of Ava with grace, yet mystery. Playing a robot-like character is a tall task for any actor, but Vikander succeeds by delivering a perfect character equilibrium—Ava is not too robotic, but not too human, either. Vikander broke out as an actress in 2015, but despite the Oscar nomination for The Danish Girl, this, in my opinion, was her best performance from the past year. As alluded to earlier, I was exceptionally fascinated by Oscar Isaac’s performance as Nathan. He makes hilariously dry jokes and drinks copious amounts of alcohol—Isaac thrives off his character’s apparent charm. But at the same time, Nathan is demented and scary. This two-faced personality profile makes Nathan a character that cannot be trusted, even by the viewer—you never know if Nathan is showing his true colors. 
Oscar Isaac also helmed my favorite scene from the film. At a critical point in the movie where Caleb’s trust in Nathan is rapidly waning, Nathan’s assistant (Sonoya Mizuno) starts to dance on Nathan’s command. Nathan tells Caleb to dance with her, but Caleb has no interest—he wants to speak one-on-one with Nathan and question him about Ava. While asking Nathan what he was doing with Ava, Caleb says, “You tore up her picture.” Without missing a beat, Nathan pompously boasts, “I’m gonna tear up the fucking dance floor, dude, check it out.” Not taking Caleb seriously, Nathan and his assistant then proceed to engage in one of the greatest dance scenes in film history—far and away my favorite moment! Ex Machina is rated R for graphic nudity, language, sexual references, and some violence.
WINNER: Mad Max: Fury Road (John Seale)
Spotlight is sad, angering, and despicable at times—that is what makes it so incredibly compelling. The Catholic Church has immense power and prominence worldwide, but the fact that this story takes place in Boston is vital—the Catholic Church is a way of life in Boston, just like the Red Sox and clam chowder. In the film, the Globe’s new editor Marty Baron kicks off the investigation, and the journalists are initially thrown off—characters question Baron vigorously about whether it is such a good idea to take on the Catholic Church in a community where that institution permeates everyday life. Throughout the investigation, citizens of Boston—including lawyers, members of the Church, and even victims of sexual abuse from Boston priests—are hesitant to speak with the “Spotlight” team, and some are even downright appalled that this story is even a thing. It is against this backdrop that makes Spotlight such an important film: Sexual abuse in the Catholic Church runs rampant, and yet, as contemptible as it sounds, everyone who denies the graveness of the scandal becomes complicit in its cover up.
Although Spotlight is by far one of the best movies from 2015, I do not credit Tom McCarthy with much of its success as a director (he did co-write the script, which is impressive). I know, this sounds like a pretty bold and cynical statement considering McCarthy received an Oscar nomination for Best Director (I assure you, he does not deserve the nomination—especially since The Martian’s Ridley Scott was left out of the category in a year when he absolutely deserved to be included), but Spotlight thrives off its screenplay and story. Visually, there is nothing that jumps out as unique; the camerawork is simple and McCarthy’s direction is minimal. 
Spotlight makes its mark due to its remarkable script, written by McCarthy and Josh Singer. The story is gripping, and the screenplay reads like a thriller at times. With every passing moment, the substance of the film grows more sickening, and it is this tough-to-stomach plotline that keeps you on the edge of your seat. McCarthy (as a writer) and Singer rely on their award-winning source material to guide this film, and they do so with marvelous precision.
Despite the fact that the film succeeds due to its heavy reliance on the story, a talented ensemble cast carries out this triumph dexterously. The film features great performances from Michael Keaton, Liev Schreiber, John Slattery, and Stanley Tucci. However, the best performances come from 
Ruffalo plays Michael Rezendes, a “Spotlight” reporter whose unyielding efforts to take on the Catholic Church provided some of the most noteworthy insights into the scandal. Ruffalo is a masterful actor, and his portrayal of Rezendes earned him his third Oscar nomination in six years. McAdams delivers my favorite performance in the film as Sacha Pfeiffer, another “Spotlight” reporter. 
Pfeiffer’s character has one of the more fundamental, yet complex character arcs, and McAdams excels in her portrayal. Pfeiffer’s grandmother is a devout Catholic, and Sacha attends mass with her regularly. This storyline delineates the constant confliction McAdams’s character faces—how can she reconcile her loyalty to her grandmother with her determination to take down the Church as a disreputable institution? McAdams flourishes in this role. Spotlight is rated R for some language including sexual references.
From the moment I found out that a project was in the works to bring the story of N.W.A. to the silver screen, I was captivated. The preeminent gangsta-rap group, which was founded in the mid-1980s, was more than just a fivesome of rappers (I say “five” because credited member Arabian Prince only appeared on one song from the Straight Outta Compton album and was hardly featured in the film); it was a collective of youths, determined to convey to the world the story of the dangers of growing up in the hood. Despite being met with critical and commercial success, the group’s eponymous debut album was subjected to stark criticism from an abundance of powerful groups, including the US Senate and Federal Bureau of Investigation. 
The lyrics were incredibly profane, derogatory, and aggressive towards the police; it was this content that garnered the group and its debut album such disparagement. In fact, one of the premier tracks on the group’s debut album was titled, “Fuck tha Police,” which featured lyrics that addressed police brutality and racial profiling. Although the “authorities” were not fans, this song epitomized the political message behind N.W.A.’s existence as artists: People need to know what really goes on—what you do not see on the news. As relevant as this message was at the time—nearly thirty years ago—the film’s release has an analogous significance now, as in 2016, we are still battling significantly hostile race issues. N.W.A. was more than a rap group that ultimately crashed and burned—it was the voice of a generation.
Director F. Gary Gray and his team of filmmakers have crafted in Straight Outta Compton more than another cliché biopic—this film is flat-out incredible. I have become so sick of most biopics because they simply pander and bore, delineating nothing more than the fact that filmmakers can follow a strict template of melodramatic, insincere, and unaffecting drivel. Straight Outta Compton is so great because it takes this monotonous formula and flips it on its head with vivacity. The film features numerous “action” scenes of police hostility and brutality, and the ways in which Gray and his cinematographer (Matthew Libatique) portray these atrocious images is unrelenting—they make you feel as if you are living these cruel moments along with the characters. 
I also loved the scenes of the group’s creative process. As a fan of rap music, and especially N.W.A., it was an unexplainable treat to watch legends like Dr. Dre, MC Ren, and Eazy-E artistically craft of the greatest albums in the history of music. The camerawork is always visually appealing, and Libatique and Gray captured the group’s chemistry with dynamism.
The acting in the film was superb—I am not sure the filmmakers could have created a more cohesive group. Although it was great to see Ice Cube’s very own son—O’Shea Jackson, Jr.—portraying him, the stars of the picture were, without a doubt, Paul Giamatti and Jason Mitchell. Giamatti portrayed Jerry Heller, a notorious music manager and businessman who co-founded Ruthless Records with Eazy-E. Heller was hired by Eazy-E to manage N.W.A., and he was a key figure in the group’s initial success. However, much controversy surrounded Heller’s tactics, as members of the group viewed him as a guy who was truly only looking out for he and Eazy-E’s best interests (and in the end, his devotion to Eazy-E was suspect). 
Heller was an angry and vicious man at times, but he also had a lighter side, especially regarding his heartfelt relationship with Eazy-E; Giamatti, as a veteran actor, absolutely nailed this portrayal. Giamatti’s deftness for his craft is undeniable, and, considering the film’s cast was mainly a group of young, up-and-coming actors, it was the perfect set of circumstances for Giamatti to make his mark. The film’s best performance, however, came from Jason Mitchell as Eazy-E. The story, although about the rise and fall of the group in general, revolves around his character. Eazy-E is the true beginning, middle, and end of the group’s story. He is the one that funded the group’s upstart and acted as the “lead.” He is the one who ultimately was at the center of the group’s demise, due to his relationship with Heller. And his HIV-diagnosis and subsequent death is what ended the chances for a potential reunion of the group.
Eazy-E’s story arc is incredibly dynamic, and it was a tall task for Mitchell to take on—Mitchell took on the challenge and succeeded beyond measurability. Mitchell portrays his character as an incredible complex guy—one who has lived the “thug life” and puts on a hard exterior, but who also has a wildly sensitive/emotional side. Jason Mitchell’s delineation of this larger-than-life figure was amazing, and I truly believe he was absolutely snubbed by the Academy in the Best Supporting Actor category.
Director Matthew Vaughn is the filmmaking genius behind one of my favorite comic-inspired action films of all time, 2010’s Kick-Ass. That film was filled with non-stop action and hilarious banter, not to mention a superfluity of profanity-laced dialogue. Vaughn adapted Kick-Ass from a comic series of the same name by author Mark Millar. In addition to creating the Kick-Ass series, Millar has penned the comic series Wanted (which was adapted into a film starring Angelina Jolie) and The Secret Service, the latter of which served as the source material for Kingsman. In his latest film, Vaughn has delivered his greatest filmmaking achievement yet—in fact, Kingsman grossed over $414 million worldwide, which made it Vaughn’s most commercially successful film. This film is obviously not one that is contending for any major accolades, but I assure you, it is some of the most fun you will have watching a movie!
Kingsman always knows what it is as a movie, and it thrives off never taking itself too seriously. Much like 2015’s Spy (starring Melissa McCarthy)—but done so far more magnificently—Kingsman straddles the line between the James Bond film series and Austin Powers. The film is never so serious as to be a real Bond thriller, but it also never completely sells itself out as a full-blown parody—Kingsman strikes a happy medium between the two. In one scene, Eggsy is asked how he would like his martini prepared, and he replies, “With gin…stirred for ten seconds while glancing at an unopened bottle of vermouth.” The line is entertaining, as it puts a cheeky twist on Bond’s infamous “Vesper Lynd” drink. Aside from the film’s sidesplitting repartee and vintage spy reverences, the action is out of this world. 
As the film progresses, its action sequences get more and more over the top—yet, it works, simply because the film never takes itself too seriously. One of the biggest set pieces is one of the most epic brawls/massacres you will ever see in a movie, all triggered by the villain’s lethal SIM-card plot. The scene is bloody, filled with blockbuster combat, and takes place in a church, nonetheless. It is madly exaggerated, yet it is one of the best things I saw all year—pure entertainment at its finest.
Kingsman boasts a wildly impressive cast, which is one of its most noteworthy feats. Colin Firth stars as Harry Hart (codename Galahad; all the Kingsman agents have knights-of-the-round-table names), and at first glance, the character is as archetypal as it gets for Firth. He wears a nice suit, speaks in proper English, and does not appear to have a violent bone in his body—and then the action starts! I was quite impressed with Firth’s portrayal of his character as one of the biggest badasses in the film—in one scene, he defeats an entire gang of hooligan-like gentlemen in a bar…with only an umbrella! In addition, newcomer Taron Egerton (who will star in Eddie the Eagle in 2016) fills the role of the snot-nosed, temperamental young recruit quite well. He has a certain charisma about him, and he holds his own next to the Oscar-winning Firth. 
The film also features solid supporting performances from the legendary Oscar winner Michael Caine, Mark Strong, Sophie Cookson, and Sofia Boutella. However, the best supporting performance comes from Samuel L. Jackson. In his role as the film’s villain (Valentine), Jackson plays the character brilliantly. Valentine wears flat-billed hats cocked to the side, has a vicious thirst for blood, and hilariously speaks with a pronounced lisp—Samuel L. Jackson nails it! Kingsman: The Secret Service is rated R for sequences of strong violence, language, and some sexual content.
WINNER: Colin Gibson and Lisa Thompson (Mad Max: Fury Road)
WINNER: Alex Garland (Ex Machina)
Ever since Steve Jobs’s untimely death in 2011, the film industry has become exceedingly saturated with Jobs-related material. In addition to the numerous documentaries about the head of Apple, Ashton Kutcher gave us an unbelievably subpar portrayal of Steve Jobs in Joshua Michael Stern’s 2013 feature Jobs. I mention this recent history of Jobs-related media to highlight that I understand the public’s hesitation to go see another movie about Steve Jobs. But if you have not seen this yet, I desperately urge you to rent this immediately—this movie hits the mark in nearly every way possible!
The real geniuses behind Steve Jobs are director Danny Boyle and screenwriter Aaron Sorkin. Danny Boyle is the filmmaker behind award-winning films like Slumdog Millionaire and 127 Hours, but for me, Steve Jobs is his best work yet. In this film, Boyle taps into his veteran directing style to carefully craft each scene and get the best performances out of his actors and actresses. Despite Boyle’s own brilliance, Aaron Sorkin is the single piece to this puzzle that is most imperative. Sorkin’s credits as a TV writer include heavyweights like The West Wing and The Newsroom, and his movie résumé is just as impressive, boasting scripts like A Few Good Men, Charlie Wilson’s War, The Social Network, and Moneyball. Sorkin is known in industry circles as a preeminent screenwriter due to his rapid-fire technique, and in Steve Jobs, he has provided us dialogue that I have not seen done so masterfully in years. 
The movie lasts for 122 minutes, and, as I mentioned, features only three scenes—this makes Sorkin’s work even more remarkable. The story is supposed to track in real time behind the scenes of these launches, which does not leave Sorkin much time to execute his oral interchanges—he feeds off that pressure. The film (evocative of a play, which Sorkin has penned many of) thrives off conversation, and with every line, Sorkin delivers hard-hitting discourse. Although the actors execute his plans via Boyle’s direction, Sorkin is at the heart of this film’s success for me, and it is an absolute abomination that the Academy snubbed him for Best Adapted Screenplay.
The acting performances in this film are exquisite; both Michael Fassbender (as Jobs) and Kate Winslet (as Joanna Hoffman, Apple’s marketing executive) were nominated for Oscars, and rightfully so. Michael Fassbender is by far one of the top five actors currently working in the film business. He has garnered immense praise for roles in Hunger, Inglourious Basterds, Shame, Prometheus, and 12 Years a Slave, and in Steve Jobs, Fassbender has killed it again. Steve Jobs was a once-in-a-generation kind of innovator, but the skeletons in his closets were always present, feeding off his stressful life. 
Jobs’s professional and personal lives often intersected, and Steve Jobs fiercely examines the crash course that resulted. Fassbender was always the best actor for the role, and with dexterity and intricacy, he owns the many personal and professional faces of his character. Kate Winslet additionally delivers an amazing performance, for which she has already won Best Supporting Actress at both the Golden Globes and the BAFTA Awards. 
Throughout Jobs’s many personal/professional-life debacles in the film, Winslet’s Joanna Hoffman is always the voice of reason that settles these issues. Winslet perfectly articulated Hoffman’s accent (a product of English mixed with her Polish and Armenian origin), and she portrays her as an incredibly strong, independent woman. It is by far one of my favorite Winslet performances of all time. Steve Jobs is rated R for language.
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.
The Reel Countdown 