'Men in Black: International' Review

Synopsis: The Men in Black have always protected the Earth from the scum of the universe. In this new adventure, they tackle their biggest threat to date: a mole in the Men in Black organization.

Runtime: 114 minutes

MPAA Rating: PG-13 (for sci-fi action, some language and suggestive material)

Who should see it? Passionate fans of the Men in Black franchise.

Directed by F. Gary Gray with a screenplay by Art Marcum and Matt Holloway, Men in Black: International seeks to rejuvenate the series as a globe-trotting spy adventure on the heels of the three Will Smith/Tommy Lee Jones-led Men in Black features. Sony Pictures is a notoriously money-hungry studio, and it's been seven years since MIB 3, so it makes sense that the studio would be keen to prolong the series via a soft-reboot. On paper, you'd even expect that the talent involved would be able to produce something satisfactory. Gray's a successful filmmaker while Thor: Ragnarok co-stars Chris Hemsworth and Tessa Thompson are a promising pair with a pre-existing rapport.

Unfortunately, MIB: International never amounts to being anything more than a cookie-cutter summer blockbuster which was clearly made to cash in on an established franchise. Most sequels and spin-offs are developed with the intent of securing a healthy financial return, and there's nothing wrong with that in-of-itself. However, MIB: International is devoid of style, spirit, and personality. I take no issue with watching something formulaic, so long as it successfully implements said "formula," but MIB: International can't even do that. While MIB: International is inoffensive and competently made, I doubt I'll ever have an urge to rewatch due to its lacking entertainment value. 

The worst thing I can really say about MIB: International is that I deemed it bland and boring, which is blasphemy for a MIB entry. Men in Black isn't a sacred franchise by any means, but something is endearing about how weird and over-the-top those first three films were. Even the worst ones captured the ludicrous nature and nonsensical tone of it all. A universe in which aliens secretly inhabit Earth and are policed by a government agency is one that's ripe for expansion. MIB: International strives to do just that by introducing the London branch and visiting other international locales. These backdrops prove to be very inconsequential though, lending little of interest to the onscreen affairs.

Redeeming qualities are few and far between for MIB: International, but I did appreciate Marcum and Holloway's efforts to differentiate from the previous installments. Most notably, the dynamic between Agents M and H heavily contrasts J and K. M is a headstrong, knowledgable rookie while H is a top agent who lost his mojo. I considered that change-up refreshing, as MIB: International could have easily been a retread of its predecessors. In keeping with their onscreen personas, Thompson and Hemsworth offer their characters a degree of charm and likability. Kumail Nanjiani's Pawny was a pleasant addition while Liam Neeson, Emma Thompson, and Rebecca Ferguson hardly register due to lacking screen-time. Ultimately, the entire ensemble is restricted by a subpar script as characters dilly-dally for two hours.

If interested in seeing Men in Black: International, I'd recommend you break out your neuralyzer and forget that idea. Though well-intentioned and competently made, MIB: International joins this summer's expanding blockbuster roster of studio-mandated mediocrity. Your time and money would be better spent seeing Late Night, the other movie starring Emma Thompson which expands into theaters nationwide this weekend, and I'll soon share a review for it.

Film Assessment: C

'Creed II' Review

In 1985, Russian boxer Ivan Drago killed former U.S. champion Apollo Creed in a tragic match that stunned the world. Years later, Apollo's son Adonis accepts a challenge from Drago's son against the wishes of trainer Rocky Balboa. Under guidance from Rocky, Adonis trains for the showdown of his life as they both must confront their shared legacy.

Directed by Steven Caple Jr. and penned by Sylvester Stallone and Juel Taylor, Creed II continues the story of 2015's Creed (the first chapter in a new franchise stemming from the series of Rocky installments). Considering Creed was one of my favorite films in the year it was released, I've eagerly awaited this sequel but tempered my expectations since Ryan Coogler wouldn't be returning to direct (seeing as he was preoccupied with Black Panther). Coogler was largely responsible for Creed's success on account of prioritizing compelling, human drama over two blokes trading blows in the ring. With that being said, Coogler did invigorate the first film's boxing matches with an outstanding one-take fight and a heightened sense of ferocity during every other engagement. I say all this because I was unsure if another director could capture the unabashed intimacy of Adonis' personal troubles and the hard-hitting intensity of boxing as well as Coogler. However, I was thankfully proven wrong, to a degree.

Topping, or let alone matching, the quality of the predeceasing film is just about an insurmountable task, but Caple Jr. gives his all despite Creed II only being his second feature (much like Coogler coming into Creed). While Caple Jr.'s direction may lack the style and finesse of Coogler's work, Creed II compensates with a huge heart where it counts. Here, Caple Jr. demonstrates himself to be a capable director and does an excellent job furthering the story of this series as he, Stallone, and Taylor have wisely built upon the legacy of the Rocky franchise and solid foundation of the first Creed. Whereas the first film was an underdog story, Creed II explores Adonis' fall from grace as he must deal with the repercussions of Rocky's victory over Ivan Drago and face the son of the man who killed his father. 

Though Creed II may be formulaic and a tad predictable at times, I was very invested in the outcome due to higher stakes and excellent character work. The continued exploration of father-son relationships and the subsequent baggage boded well for this entry, as the Dragos actually made excellent foils for Rocky and Adonis. The Dragos could have quickly become bland, clichéd antagonists, but their motivation is somewhat sympathetic as they strive to regain favor in the eyes of those who previously abandoned them. On the flipside, Adonis' struggle is made all the more interesting because he has everything to lose now that he's on top of the world (so to speak).

Putting story aside for a second, it's well worth mentioning that there was plenty of striking imagery captured by Caple Jr. and cinematographer Kramer Morgenthau. Adonis training underwater, which can be glimpsed in the trailer, was a particularly cool inclusion while two invigorating training montages and the visceral hand-to-hand combat have stuck with me these last few days as well. I also must commend Ludwig Göransson on composing another superb score, complete with another couple rousing renditions of "Gonna Fly Now" (better known as the Rocky/Creed theme).

Of course, though, it's Michael B. Jordan, Tessa Thompson, and Sylvester Stallone who continue to embody the heart, soul, and mind of this series. Jordan is excellent, as per usual, maintaining his position as one of the most consistent actors of his generation and I'd even say that he tops his performance from the first film on account of everything required of him physically and emotionally this time around. Thompson's Bianca is still a steady, strong love interest while the chemistry between the two is off-the-charts electric. Stallone's role is less showy than his Academy Award-nominated performance from the first film since Rocky's now in remission, but no less impactful. Jordan and Stallone really have an effective on-screen rapport, so it was nice to see that dynamic be expanded and tested to its limits. 

Lastly, Dolph Lundgren and Florian Munteanu carry an intimidating screen presence thanks to their monstrous physique and surly facial expressions. Watching their internalized rage broil to the surface and Viktor demolish opponents in the ring only further enhanced the credibility of the threat they pose to Creed and Balboa. They're admittedly not the best actors, but they make do with what's given to them and are satisfactory antagonists.

Assuredly stepping into the ring for a second round, Creed II's proven itself to be a worthy sequel and demonstrates that this franchise can still pack a punch even without Ryan Coogler directly in its corner. 

Film Assessment: B+

'Sorry to Bother You' Review

In an alternate present-day version of Oakland, telemarketer Cassius Green discovers a magical key to professional success, propelling him into a macabre universe of "power calling" that leads to material glory.

Serving as his feature film debut, Sorry to Bother You was written and directed by rapper and musician Boots Riley. Words that will surely arise in plenty of discussions afterwards are ambitious and unique (or at least terms synonymous to those) because I guarantee you that you've never seen anything quite like Sorry to Bother You. If you're someone who's sick of the summer's franchise fare, this might be the undeniably original breath of fresh air that you've been looking for. Whether you actually like it or not is difficult for me to say, as it depends on your tolerance for the film's outlandish scenarios, but I'm confident Sorry to Bother You will be way too weird for most general audience members. 

For his first feature, Riley's got plenty to say regarding race relations, corporate greed, and capitalism in general. His script was ultimately too ambitious for its own good though since there's such a heavy-handed socio-political subtext lingering over the narrative. I've seen many comparisons to Get Out, but I'd argue there are some substantial differences between the two films as well. Namely, Jordan Peele's subtlety in communicating his message versus Riley's ostentatious approach. This is by design of course, but I found Riley's method to be far too "in-your-face."

I'll say I was onboard for the first two acts of the crazed comedy, but was totally lost in the ending insanity. At that point, the humor lost its edge and everything skewed towards being bizarre rather than funny whatsoever. Sorry to Bother You seems to have found favor with critics and audience members on the basis of being a satirical cautionary tale, but Riley's depiction of reality is ultimately too unfocused and absurdly over exaggerated to possibly take seriously. The strange satirical piece is riddled with an overabundance of interesting ideas, but Riley can't quite tie them all together effectively due to his inexperience as a filmmaker. This problem rears its ugly head as the film progresses and subplots involving certain supporting characters are all but abandoned in favor of some zany shenanigans. 

With that said, the film was aesthetically pleasing and I can't help but respect Riley's ambition and unique voice as a fresh filmmaker. The gimmicks of "the white voice" and dropping the telemarketer desk straight into someone's home during calls could have easily been overused and tiring to watch, but Riley employs these shticks somewhat sparingly and his use is often justified. However, I noticed that the dubbing and lip-syncing were often mismatched and that was fairly distracting to me. I'm unsure if it was intentional for comedic effect or not, but it was glaring nonetheless. 

If there's one thing that keeps Sorry to Bother You afloat though, it's the exceptional ensemble assembled for the project. As the leading man, LaKeith Stanfield furthers his rise as an increasingly reliable actor by exhibiting an immense range and incredibly expressive physicality into Cassius' mannerisms, attitude, and personality. Playing Cassius' girlfriend, Tessa Thompson has spunk to spare and dominates the screen as Detroit. I especially liked the dynamic between Stanfield and Thompson because it so off-kilter and the two had great chemistry.

Jermaine Fowler, Steven Yeun, Danny Glover, Terry Crews, and Omari Hardwick are tasked with portraying Casius' friends, co-workers, and family, and while they each do a solid job with the material provided, the actors feel underutilized in the grand scheme of things. Familiar voices you will hear in varying capacities over the course of the hour and forty five minutes include David Cross, Patton Oswalt, Lily James, Forest Whitaker, and Rosario Dawson.

Rounding out the cast, Armie Hammer is an eccentric CEO who's intimidating on account of his obsessive fixation on the bottom line, and that leads to a few interesting revelations to say the least... I'll preserve the surprise for the sake of ensuring you're as shocked as I was, but those who have seen the film probably know exactly what I'm referring to.

For better or for worse, Sorry to Bother You is unapologetically "out-there" in spite of a forgiving title. With the upmost confidence, I can assure you that it certainly will be one of the weirdest films you see all year.

Film Assessment: B

'Annihilation' Review

Annihilation charts a course alongside a biologist as she joins a dangerous, classified expedition to "The Shimmer," a place where the laws of nature no longer apply. Only inside can she and her team unravel the mystery of it all.

Annihilation is the second film to be written and directed by Alex Garland following Ex Machina, and it's yet another stunning work of cerebral science fiction from the director. Garland has adapted Jeff VanderMeer's novel into a high concept sci-fi story about self-destruction, and although I've heard it's not a faithful adaptation, it's certainly both interesting and thought-provoking. While the marketing may suggest it's a sci-fi horror like Alien, I'd actually liken it to more philosophical work such as Denis Villenueve's Arrival. There's elements of horror incorporated into the film for sure, but Annihilation's much more involved in exploring metaphysical mysteries than trying to excite audiences. 

If there's one thing I'm sure of, it's that Annihilation will not be a film for everyone. The third act will almost certainly be divisive among audiences due to its ambiguity, and I imagine many won't be onboard with the story's direction whatsoever. Even though I quite enjoyed it, I can totally understand why someone would carry the opposite point-of-view, and Paramount seems to be aware that this film isn't intended to be consumed by the masses considering the film will be released straight to Netflix internationally. With that in mind, I hope the studio doesn't take away the wrong lessons from this weekend's lackluster box office performance and continues to release daring, innovative films. 

I, myself, found this film fascinating from start-to-finish as I was fully invested in exploring the estranged interior of "The Shimmer" and incessantly awestruck by the resplendent psychedelic sensibilities of the film's visuals. Annihilation is extraordinarily impressive from both a visual and audible standpoint thanks to phenomenal production design from Mark Digby, splendid otherworldly imagery captured by cinematographer Rob Hardy, vibrant visual effects work, and sensational sound design. Everything inside "The Shimmer" carried an element of intrigue with it while resembling something that was simultaneously beautiful and dreamlike, yet horrifying and nightmarish, and the swelling score composed by Geoff Barrow and Ben Salisbury reflected the ethereal environment perfectly! 

In regards to acting, the entire ensemble provides a substantive performance. As you may be able to tell from the photos I've included in the review, the cast is primarily female and sometimes that can work to a film's detriment if the focus is placed on empowerment over simply telling a good representative story, but Annihilation thankfully doesn't fall into that trap. Natalie Portman leads as Lena and puts forth yet another powerhouse performance, as is to be expected. Portman imbues her character with a lot of subtlety and nuance that really pays off once her self-destructive tendencies are revealed to the audience, though witnessing her change and growth as a character was perhaps the most rewarding. Rounding out the team are strong turns from Jennifer Jason Leigh, Tessa Thompson, Gina Rodriguez, and Tuva Novotny as pessimistic psychologist and leader Dr. Ventress, vulnerable physicist Josie Radek, outgoing and outspoken paramedic Anya Thorensen, and the weary, understated anthropologist Cass Sheppard. Oscar Isaac and Benedict Wong each have minimal screen time, but carry crucial presences in the film respectively. 

Annihilation isn't merely something that can only be appreciated through its staggering technical achievements though. In fact, I was hooked by my interest in the characters as well as a genuine desire to discover the inner workings of this uncanny atmosphere. That last bit will probably be a commonality for viewers as they struggle to figure out what the heck is going on within the confines of this unnatural area, and I'm sure a good portion of those curious will leave immensely frustrated when Garland doesn't offer them all the answers on a silver platter. This is a film you'll need to digest and think about for awhile afterwards before settling on a verdict, hence why it took a little longer than usual for me to share this review. If you judge the film purely based on your knee-jerk reaction to the insane ending, then everything will be lost on you. This film requires in-depth thought and analysis in order to piece together your own interpretation of it all, and if that doesn't sound like something you're interested in, then this is definitely not for you. 

However, I implore those prepared to contemplate weighty philosophies to go out and support this film to demonstrate to the studio that there is actually an audience for this type of ambitious storytelling. If that sounds like you or you were interested in seeing Annihilation, I say give it a shot because opinions are quite scattered all over the place on this film. 

Whatever the case may be, Annihilation is a big, bold, and breathtaking work of science fiction that should be experienced on the largest screen possible. Prepare all you'd like, but your mind will be annihilated nonetheless.

Film Assessment: A-

'Thor: Ragnarok' Review

[This review was originally written in November 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

Thor: Ragnarok picks up about two years after the events of Avengers: Age Of Ultron as Thor is following up on the visions he had regarding the destruction of Asgard, also known as Ragnarok. After seemingly stopping Ragnarok for good, Thor returns to Asgard only to learn Loki has been impersonating Odin since the end of Thor: The Dark World. The two adopted brothers then journey to Earth in order to retrieve the Allfather, but things don't go as planned when Hela, the Goddess of Death, escapes her eternal imprisonment, destroys Mjionir, and the two brothers wind up on the gladiatorial planet of Sakaar. Once there, Thor is made one of the Grand Master's champions and pitted in battle against one of his fellow Avengers, the Hulk. Thor must then find a way to escape Sakaar alongside his friends and make it to Asgard to stop Hela from bringing ruin and destruction to the Nine Relams.

Thor: Ragnarok happens to be the seventeenth installment in Marvel's ever-expanding catalogue of superhero films on top of being the God of Thunder's third outing, so naturally Marvel would want to shake things up, and they have done just that by bringing comedic director Taika Waititi onboard. The Thor franchise honestly needed a facelift, and Waititi rejuvenates the mighty Avenger by infusing his own comedic sensibilities and an electrifying eighties-vibe while fundamentally deconstructing the titular character. Ragnarok effectively integrates the cosmic fun of Guardians of the Galaxy with the world first established in Thor. It's the Marvel cosmos meeting Marvel's take on Norse mythology.

This change-up is made abundantly clear once Thor's mighty hammer is smashed to smithereens, his luscious locks are snipped, and he's thrown into an arena to battle the Hulk. Thor's also traditionally been the straight-man, but someone over at Marvel must have taken note of Hemsworth's natural knack for humor, so instead he spouts quips from the get-go. This departure is a tad unusual and admittedly jarring at first, but you'll settle into the adjustments as the film proceeds. In fact, that won't take too long due to the lightning-fast pacing of Thor: Ragnarok's opening. 

Once the film starts, it doesn't take time to breathe, so the beginning portion of the film effectively feels very rushed with the intention of hurriedly sweeping many of the remaining franchise elements under the rug. For me, the film didn't totally find its groove till Thor arrived on Sakaar. At that point, everything slows down a bit and we spend some sizable time on a Jeff Goldblum-ruled, gladiatorial utopia, which is glorious. 

One of the film's other predicaments was simply some ill-timed humor. Serious moments aren't permitted to hold the expected weight or gravity because Waititi or one of the screen-writers thought it'd be funny to throw in a joke. I feel Waititi missed the mark on providing appropriately-timed comic relief to match the more serious situations. Instead of inserting jokes as a source of levity AFTER the event, Waititi chose to throw them straight in the midst of these situations. I think this film is the prime example of what most DC fans point to when they say they dislike the Marvel brand of humor. I think previously, these jokes were more subtly incorporated in appropriate situations as opposed to their overt inclusion here straight in the middle of an intense moment. 

In regards to action, Ragnarok is fairly low on that front when compared to the other Marvel-fare. The Thor-Hulk gladiator fight itself is enormously entertaining with a wealth of great moments, Hela invades Asgard in spectacular fashion, and the brewing third act showdown on Asgard has enough surprises and stunning spectacle to leave a favorable impression on viewers, but there simply aren't any other striking sequences in Ragnarok's arsenal. The film does however manage to make up for the lacking action in the technical arena.

Thor: Ragnarok is easily one of Marvel's most colorful films thus far with an array of splendid shots, wacky wardrobes, and some especially psychedelic sets tributing the considerably influential comic artist Jack Kirby. Mark Mothersbaugh also successfully composes one of Marvel's most diverse sounding film scores to date with both sweeping, grandiose themes and pulsating, electronic music to accompany the crazy cosmic side of things. The visual effects for the most part are also quite good, but there are a few noticeable inconsistencies (mainly some poor green-screening in moments), although casual viewers are unlikely to take notice of these insignificant imperfections. 

My only other significant issue lied with the characterization of Hela. Prior to seeing the film, I believed Marvel was overcoming their villain issue in their third phase, and I had high hopes that Hela would rise to the occasion and be one of the very best. While she certainly came across as intimidating thanks to Blanchett's performance and her demonstrations of power, Hela's motivations seemed to fall in line with simply feeling entitled to the throne of Asgard. Even though I understand her reasoning, I found it to be lacking and simply didn't deem her a compelling antagonist. There just wasn't enough to her character aside from the obligatory lust for power in my opinion.

One very welcome change however, was a better balance between Thor and Loki. Previously, I felt Hemsworth was always overshadowed by Hiddleston, but I feel Waititi managed to successfully tip the scales in Thor's favor without undercutting Loki. On that note, Chris Hemsworth feels much more in his element now that he can hang loose and make full use of his comedic abilities. I wouldn't call this his best outing as Thor, but it's certainly the most fun. By his side, Tom Hiddleston continues to demonstrate Loki's reputation as the God of Mischief throwing tricks into the mix left and right. The duo's dynamic is just as charged as it has been previously, so any viewers craving more of the trademark witty bickering between the two will be more than satisfied.

Don't discount the big green guy though, because Mark Ruffalo smashes onto the screen with two-pronged portrayal of Bruce Banner and the Hulk. This is a very different Hulk than the one we're used to seeing as he speaks and throws tantrums like a two year old, which actually makes sense considering he's been Hulk for two years and therefore the Hulk's intelligence would have developed as such. Drawing ample inspiration from the Planet Hulk storyline in the comics, Waititi brings the mystery of what happened to Hulk at the end of Age of Ultron to a satisfying resolution and positions Hulk as a standout supporting character in ways previously unthought of. Ruffalo's camaraderie with Thor as both Hulk and Banner is one of the elements that really energized the movie. Otherwise, his take on Banner is rather relaxed when compared to his performances in the last two Avengers films because the script simply doesn't demand much from him in terms of acting. 

Rounding out the Revengers roster is Tessa Thompson's Valkyrie, who stands out as an impressionable newcomer and one of the coolest female Marvel heroes yet! Thompson remains a talent to watch as she adds Ragnarok to her list of standout supporting roles by granting Valkyrie an air of confidence comparable to the swagger of Han Solo. She also has great chemistry with Hemsworth, and I was relieved to see that a romance wasn't imposed on the two characters just yet, but I imagine I'd be accepting of it later down the line. 

As for the Asgardians, most are dismissed fairly quickly with scarce screentime or none at all, but Idris Elba's Heimdall is given some more prominence in the plot and Elba rises to the occasion. Honestly, the only other one worth mentioning is Anthony Hopkins, who once again imparts ancient wisdom on our characters. I will say that the dangling plot-thread regarding his character's disappearance was resolved a little too quickly, but Hopkins' status as an actor carries through and grants Odin the necessary gravitas as per usual. 

Elsewhere, director Taika Waititi voices the rocky gladiator combatant Korg. This is the character responsible for one of the most egregiously ill-timed jokes, but apart from that particular moment, Korg was a welcome source of soft-spoken comedic relief who would probably feel right at home in Waititi's other work (namely Hunt for the Wilderpeople).

All the while, Jeff Goldblum is clearly having a blast playing the Grandmaster as an especially over-exaggerated version of himself. If you love Jeff Goldblum, you'll be immensely entertained by his character because he's wacky, weird, and just about level of eccentric in between. Oh, I would also be remised if I failed to mention the wealth of easter eggs, references, cameos, and two post credit scenes lurking within Waititi's crazy cosmic comedy. Keep your eyes peeled, as per usual, and you'll be well rewarded with a Stan Lee appearance and substantial surprises.

On the antagonistic front, Cate Blanchett really elevates Hela through her performance despite the fact her character is especially underwritten. Blanchett ensures Hela is an imposing character, but the writing behind her character simply lacked the depth I was desiring. Karl Urban, on the other hand, interjects Skurge with a relatable viewpoint and surprisingly stood out alongside the superb supporting cast in a memorable stint. 

Thor: Ragnarok successfully stimulates the franchise with a bolt of electricity that should satisfy any who were displeased with his previous entires, but falls prey to many of the common criticisms associated with Marvel productions in addition to some poor pacing. Thor: Ragnarok may easily be the best Thor film yet, but it's far from thundering alongside the top tier Marvel Cinematic Universe installments in my eyes.

Film Assessment: B-

'Creed' Review

Nominated For: Best Supporting Actor; Sylvester Stallone.

I finally found time to go see Creed, and can say I was very impressed! I had heard plenty positive buzz, but avoided allowing that to affect my perception. However, I can say I whole-heartingly agree with all of the love for the film.

Creed is the seventh installment in the Rocky franchise that references events from the previous films while managing to invigorate the franchise. It pays homage to the original while viewing it through the lens of more modern filmmaking. Ryan Coogler directs the film and does a phenomenal job. There have been rumors recently that Coogler may be up to direct one of Marvel's upcoming films Black Panther, and I really hope he lands the gig after seeing Creed.

Coogler effectively works with the cinematographer to create some incredible shots. The fighting sequences were very well shot, with one lengthy fight done in one-take to great effect. The very tightly knit camerawork matches the fighting choreography for the film and remains very focused on the action effectively. Coogler utilizes slow motion, POV shots and some very tight frames to really add to the intensity of the action.

The film also takes full advantage of the classical musical score from Rocky subtly inserting it in small doses throughout the film till the training sequence that rivals that of the original while paying homage to that classic scene as well. When the film reaches this training scene that clearly parallels the original classic scene, it no longer holds back. The iconic score and the trumpets begin to blast and it really adds to the experience of the film.

The performances in the film are limited to a few key characters, in particular Jordan and Stallone. Michael B. Jordan brings a feeling of intensity to the film and proves he is very capable as the leading man portraying Adonis Creed.

Sylvester Stallone provides what may just be his best performance ever in revisiting the role of Rocky Balboa. Stallone is able to bring the character back while adding new layers of depth to the character with a new air of sagely wisdom, and gives a performance I think could be deemed worthy for awards consideration.

Tessa Thompson brings a more interesting love interest to be paired with Adonis and had some great chemistry onscreen with Jordan, maintaining a presence for the character with an interesting story.

The film's antagonist is played by real life boxer, Tony "Bomber" Bellow, who is serviceable as the villain, but doesn't really bring anything special or much to the role aside from the intense climactic fight.

Overall, I can say that this is one of the best films I've seen all year! Now, I'm going to give it an A+ and I've done that quite a bit with some of my more recent reviews, but be aware that I do hold this score back and only give it to films that I believe deserve it and earn the rating. I can't recommend this film enough and can say I feel it holds up to Rocky and is just as great if not better!

Film Assessment: A+