Watch the all-new teaser trailer for The Thomas Crown Affair below:

Here’s the official synopsis:

Billionaire Thomas Crown (Michael B. Jordan) cleverly steals a painting while another heist fails. Followed by an insurance investigator (Adria Arjona), the two fall in love during the cat and mouse game.

This new teaser trailer delivers a subtle tease of what to expect with The Thomas Crown Affair, and presents Joran’s unique take on the character as a daredevil thrill-seeker with a conscious who has a wrong to right, and the desire to pull off the ultimate heist to do it in.

Taking on the project as both director and producer, following his directorial debut with Creed III, The Thomas Crown Affair has been termed a passion project for Jordan, and it’s shaping up to be a glamourous and highly polished watch, which thanks to the presence of cinematographer Bradford Young is sure to be a brilliantly glorious and oppulent picture to behold, and if you’re seeking a picture that will utterly hold your attention at every moment then you’ll get it with The Thomas Crown Affair.

The new teaser also stokes the fire of a bubbling romance between Jordan’s Thomas Crown and Adria Arjona’s as yet unnamed insurance investigator who finds herself attracted to the enigmatic billionaire, and the share a simmering heat together that has the taste of a burning sexuality and it’s going to get hot and heavy for sure as they play their game of cat and mouse.

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Michael B. Jordan’s The Thomas Crown Affair is shaping up to be one of 2027’s most intense and passionate pieces of cinema, and this piece of cinema will pull you right in. So pull out your tuxedo, polish the shows, don your cufflinks, and get ready for an experience of equal parts glamour and edge when it arrives in cinemas on March 4, 2027.

Image: Prime Video

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That line hits like a freight train and sets the tempo for Sinners, the new genre-shattering horror-action explosion from visionary filmmaker Ryan Coogler. And movies don’t get much cooler, bloodier, sexier, or more utterly insane than Sinners. This is cinema on fire. Coogler has returned to the silver screen like a lightning bolt outta hell, and he’s brought with him a film so audacious, so alive, so dangerous, that you’ll be gripping your seat from the first note of a dirty blues riff to the final splatter of blood-soaked catharsis.

Trying to leave their troubled lives behind, twin brothers Smoke and Stack (Michael B. Jordan) return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.

Ryan Coogler has already cemented himself as one of Hollywood’s most electrifying voices thanks to the hard-hitting Fruitvale Station, the knockout punch of Creed, and the mythic blockbuster juggernaut that was Black Panther. Now unleashes every ounce of creative fury with Sinners. This is no studio-safe, hand-holding horror flick. No, Sinners is pure, unfiltered grindhouse poetry; a fusion of gangster grit, vampire carnage, and Southern gothic seduction, all spun out to the heavy strum of the blues.

From its opening frame, Coogler lays it all on the line. This is a film born in shadow, sweat, sex, and superstition. It’s 1930s Mississippi Delta, and the moon is high, the air is thick, and two twin outlaws are back in town looking to raise hell. Enter the SmokeStack Twins – two sides of one dangerous coin, both played with wild-eyed brilliance by Michael B. Jordan in his most untamed performance yet. Jordan’s turn as both Smoke, a cold, grizzled war vet with a stare that’ll burn a hole through you and Stack, a fiery, fast-talking smooth operator with a devilish grin is nothing short of magnetic. These aren’t just dual roles; they’re dueling spirits, bound by blood and guilt, fueled by ambition and haunted by the sins of the past. Back from Chicago with bullets in their pockets and ghosts on their shoulders, the Twins have a plan: open their own juke joint, throw the kind of party that echoes through the ages, and finally put their violent legacy to bed. But as that old Southern saying goes — “when you dance with the devil, don’t expect to lead.” And oh baby, the devil does show up.

Just as the party hits its fever pitch, in slithers Remmick, played with snarling, scene-devouring menace by Jack O’Connell. This isn’t your elegant, cape-wearing Dracula type. Remmick is all bloodlust and id, a sadistic Irish-fried Nosferatu, rolling in with a clan of pale-faced, fanged degenerates who turn the Twins’ juke joint into a literal bloodbath. What follows is part siege movie, part supernatural thriller, and part adrenaline-charged shootout, with Coogler orchestrating the madness like a maestro of mayhem. O’Connell chews the screen as Remmick, tapping into pure animal rage with a performance that’s as magnetic as it is malevolent. There’s no negotiation here. He’s not some ancient vampire hiding behind charm; he’s the other kind, the kind that rips and shreds and screams. And once he sinks his teeth in, Sinners becomes a roaring, bullet-riddled hellride to dawn.

But what’s fire without a little desire? Enter Hailee Steinfeld as Mary, Stack’s former flame and one hell of a femme fatale. Picture Jane Russell dipped in honey and danger. Steinfeld smoulders with raw energy as she slinks back into the Twins’ orbit. She’s sultry, unpredictable, and every bit as lethal as the bloodsuckers stalking the night. There’s a burning tension between Mary and Stack that never lets up, and Steinfeld commands every second of it, giving the film a sensual pulse that thumps as hard as the music.

And the music – oh lordy, the music. Coogler doesn’t just use the blues as a backdrop: he weaponizes it. Scored to the blistering talents of Ludwig Göransson and his wife Serena, Sinners pulses with the soulful ache of Howlin’ Wolf, the deep rhythms of the Delta, and the electrifying rage of Southern roots music. The score drives the film, giving it grit, heart, and spine. And in one jaw-dropping, soul-shaking moment, Coogler delivers the kind of sequence that filmmakers dream about. Preacher Boy Samuel (Miles Caton) stepping into the spotlight in a 360-degree tracking shot as he channels music from the other side. It’s cinematic alchemy, a scene that sings with ancestral power and musical fury, and it’ll leave your jaw on the sticky juke joint floor.

Coogler defies genres with Sinners, tearing down the walls between action, horror, musical, and gangster flick with an outlaw’s grin and a fistful of style. He doesn’t just bend tropes, he stomps on them in snakeskin boots and sets them on fire. From moonlit vampire carnage to full-auto Tommy gun shootouts, to the haunted blues pouring from every crevice of the Mississippi night, Sinners feels like a mad love letter to cinema itself.

But what really elevates Sinners is Coogler’s ability to ground the supernatural in truth. This isn’t fantasy for fantasy’s sake, there’s weight here. Drawing from Southern folklore, African American history, and his own family lineage, Coogler crafts a film that’s not just about monsters, it’s about legacy. About the sins we inherit, the violence we carry, and the music we use to drown out the cries of the past.

And yeah, it’s gory. Like, gnarly, rip-your-face-off gory. When the siege hits its peak and the juke joint becomes a battleground, it’s a full-on, blood-soaked ballet of carnage. Stakes in the heart, severed limbs, fire, fang, and fury – Coogler goes full grindhouse and doesn’t blink. Yet somehow, the carnage never feels gratuitous. It’s cathartic. A howl of rage and redemption that leaves you breathless.

Every frame of Sinners is soaked in style, every beat feels earned, and when the credits roll, you’ll want to light a cigarette, pour a bourbon, and cue up a Howlin’ Wolf record just to stay in that headspace a little longer. Because Sinners isn’t just a film. It’s an experience. A sweat-drenched, blood-drenched, sex-dripping, soul-burning rollercoaster ride that hits you in the gut and then makes you dance about it.

Hot. Sweaty. Sexy. Bloody. Brooding. Violent. Horny. Scary. Sinners is everything you want in a night at the movies and then some. Ryan Coogler didn’t just knock on the devil’s door. He kicked it off its hinges.

Image: Warner Brothers Pictures

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Attorney Bryan Stevenson (Michael B. Jordan) takes the case of Walter McMillian (Jamie Foxx), an African-American man wrongfully imprisoned for the 1986 murder of a white woman in Alabama and sentenced to death.

One whizz kid director who is rapidly climbing the Hollywood ladder is Destin Daniel Cretton and his work on Just Mercy announces him as a filmmaker with incredible promise. With Just Mercy he crafts a film that reaches into his audience’s soul and examines the cost at which we must pay to obtain justice. Cretton shows a terrific command of narrative and character and builds out a story that his audience invest in and ultimately feel connected to. Alongside his commitment to the film’s narrative, Cretton also does an amazing job in capturing Just Mercy. Working alongside cinematographer Brett Pawlak, the two capture it with a palette of heavy browns and drab greens that put the audience into the muddy, and distressed area of the film’s Southern setting and highlights the uphill battle that Stevenson faces.

For some time now actor Michael B. Jordan has been making waves in Hollywood for his committed performances and ability to handle a range of diverse narratives and characters. Now he steps up in a big way and cements himself as one of the bright lights of his generation with his performance as Bryan Stevenson, a criminal defence lawyer who has devoted his life to fighting for those who can’t fight for themselves. Jordan’s performance as Stevenson is led by a commitment to the truth and to what is right as he takes up the fight against the State of Alabama’s right to execution, and tries to save the condemned men on its death row. A strong sense of idealism and a commitment to the law are what feed Jordan’s performance and he is steadfast in his convictions. While he strives for the acquittal of the innocent, in the case of Walter McMillian, he is a strict follower of the law and understands that there are men on the row who have committed murder and other heinous crimes. However his equal devotion to both human rights and justice is what shapes his performance here and he only wants what is just for his clients, whether they be innocent or guilty.

The setting of Just Mercy is what helps to shape Jordan’s turn as Stevenson as much of his actions takes place in the town of Monroeville, Alabama, the very place where Harper Lee wrote To Kill A Mockingbird and where her hero Atticus Finch made his plea for justice. In Stevenson, we see a man who is a real-life Atticus, a man who is fighting to re-do wrongs and trying to put the world back to a just place. There’s so much that tests Jordan as an actor, from the film’s focus on a heightened sense of racial tension to having to bear witness to the horrors of the electric chair, Jordan wrestles with some very heavy drama and it shows through in his performance. Just Mercy is Jordan’s finest hour as an actor and he gives a performance that lingers in the minds of all those who watch it.

Sitting across from Jordan’s Stevenson is the always remarkable Jamie Foxx as Walter McMillian, also known as John D, who is awaiting execution for a crime he didn’t commit and his performance here is haunting. We’ve come to know Foxx as an exceptionally gifted performer and here he plays a character who has been beaten down by the system and who seemingly has lost all hope and who, in essence, has no way out. Foxx’s performance as Walter McMillian is his rawest to date and his most revelatory at the same time. This burning sense of suffering in the darkness and a call to hope in the light plagues Walter at every turn and as the film reaches its third act and all eyes are focused on whether Walter will be acquitted and be allowed to live, or whether he’ll be sent back to the row and his death, you’re on the edge of your seat. Foxx’s performance feeds all of this and Just Mercy is his finest hour as a performer to date.

Just Mercy is joined by many themes with its central one being justice. This is a film that analyzes and makes a statement about America’s criminal justice system, and how it is fed many times by a lingering racism and a refusal to acknowledge the evidence and therefore the truth. Cretton focuses on his characters actions and the reactions that occur from said actions to study and point out the flaws in this system, but he also focuses on the good of justice and those who work to honour it and fulfil its duties. This exploration of justice is also joined by the possibility and promise of hope and it is here that Just Mercy truly gets your emotions going and pulls you inside the film’s narrative.

Just Mercy is an incredible piece of cinema that will imprint itself on your soul. It’s heartfelt, raw, and emotionally dense and audiences who watch it will feel a profound sense of emotion thanks to its unforgettable story and message.

Image: Roadshow Films

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Life has become a balancing act for Adonis Creed (Jordan). Between personal obligations and training for his next big fight, he is up against the challenge of his life. Facing an opponent with ties to his family’s past only intensifies his impending battle in the ring. Rocky Balboa (Sylvester Stallone) is there by his side through it all and, together, Rocky and Adonis will confront their shared legacy, question what is worth fighting for, and discover that nothing is more important than family.

Creed 2 was the sequel we’ve long been waiting for and director Steven Caple Jr. steps up to the fight. Set three years post Creed, Creed 2 picks up with Adonis as a solid contender for the Heavyweight title with everything to win. But after gaining the belt things get interesting and the old adage ‘that the wolf on the hill is not as hungry as the wolf climbing the hill’ suddenly rings true and that’s exactly where Creed 2 takes us. Wherein Creed we were watching the Heroes Journey playing out, here in Creed 2 we’re watching what comes next and how Adonis has to face new challenges when he suddenly has everything to lose.

Caple Jr. really focuses on the interior of his characters in Creed 2 and through the film’s most heartbreaking moments you see Adonis, a proud, strong fighter at his most vulnerable. For me Creed 2 is an exploration of what happens when you take the character of the hero apart, dissect it, retool it and put it back together. By the time of the eventual final showdown between Adonis and Viktor Drago, son of Ivan Drago (Dolph Lundgren), you’re looking at a completely different man and it’s an interesting route to take. If I were to liken Creed 2 to any of the previous Rocky films I’d have to place it in context to Rocky 3 as it follows a similarly redemptive tale and Adonis has to return to the basics and get truly tough again to overcome an immense obstacle in front of him. The drama punches hard in Creed 2 and Caple Jr. is definitely the one to thank for it.

Since Creed Michael B. Jordan has established himself as a legitimate A-list star, but his work ethic and commitment to the character of Adonis Creed still remains here and the result is an exceptional performance on Jordan’s behalf. It’s always interesting when an actor takes on a character for a second act and here we get to see a different side of Adonis, as husband and father, and a man who has other more important responsibilities placed upon him rather than just winning the belt. His is an interesting performance here and as Adonis goes through his redemptive journey you see the character at his most emotionally raw, and this is only amplified by his new position as a father and trying to be there for his child in the way that his own father, Apollo Creed, couldn’t be there for him. In addition to the emotional power of his performance, Jordan is also a beast in the ring and lets just say he’s shredded to the core and his mission to get truly tough again will leave you feeling pumped.

Again providing back-up in Creed 2 is the one and only Sylvester Stallone as Rocky Balboa, the former heavyweight champ who has become a godfather of sorts to Adonis. Like the first film Rocky is again a man caught in time and stuck in a life he no longer understands. Like Jordan, Stallone is equally raw in his performance and as Adonis is trying to learn what it means to be a father, Rocky is struggling to reconnect with his own son Robert (Milo Ventimiglia). Creed 2 is very much an exploration of fathers and sons and how they impact each others lives and in all the film’s central male characters you see this being played out. This thematic presence elevates the film above a mere popcorn blockbuster tale and it absolutely leaves you engaged.

Along with the return of Adonis and Rocky, Creed 2 also sees the return of the infamous Ivan Drago (Dolph Lundgren) who killed Apollo Creed more than thirty-three years ago inside the ring, and now the former Russian heavy hitter is ready to come back with his equally intimidating son Viktor (Florian Munteanu). Wherein Rocky 4 Ivan Drago was this bigger than life giant, the man we meet now is a shell of his former self, abandoned by his country and the woman he loved, and determined to regain his former glory no matter the cost. It’s an emotional rollercoaster of a performance for Lundgren and he excels up on screen as Ivan, as does Munteanu as his son Viktor and this relentlessness to retake the belt no matter what the cost presents a strained and very fractured relationship between father and son.

If you’re seeking to get your heart rate going then you’ve come to the right place with Creed 2….cause the action here is brutal. Both Jordan and Munteanu attack it with everything they’ve got and the intensity really shakes about the ring. The fights are bone crushing and when these two warriors enter the ring someone will leave broken. Like all good Rocky-Creed films there’s also the build-up to the actual fight and with a powerful score from Ludwig Goransson and ASAP Rocky and the atmosphere of the  barren Californian desert, which is beautifully captured by cinematographer Kramer Morgenthau, Adonis gets a lesson in what it means to be tough as he unearths his animal side once more. The film’s climatic fight is a full on war and the legacy of Creed/Drago is on the line here in an exhilarating match-up.

If Creed was about ‘who are you’ then Creed 2 is definitely related to ‘why do you fight?’ This existential question gives the film real substance and it’s an essential part of the make-up of any fighter. This is Caple Jr.’s focus throughout the film and each time Adonis steps into the ring he gains further understanding of why he fights, and with some hard lessons learnt and the pain that comes with them his full realization as to his life’s purpose is present in the climatic final battle with Drago.

If you’re seeking a solid TKO then Creed 2 is the film to give it to you. Packed out with raw emotion and some gnarly fight action, this film is a tremendously exciting next step in the Rocky-Creed mythos and cements the legacy of Adonis Creed and Michael B. Jordan as both character and actor who is truly one of the best around.

Image: Roadshow Films

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T’Challa (Chadwick Boseman), who has become the new ruler of the advanced kingdom of Wakanda, after the death of his father in Captain America: Civil War. After returning home, he must keep his kingdom from being destroyed by both inside and outside enemies.

As the eighteenth instalment in the long-running MCU, Black Panther comes at a crucial time in Marvel Studios history as the company celebrates its 10-year anniversary. The film couldn’t be more timely, and Coogler and his team take audiences to a brand new superhero realm with the mythical land of Wakanda and its warrior-monarch protector The Black Panther.

As a director, Coogler pours a lot of himself into the film, and while it might be a monumental blockbuster its also a very intimate and personal film. All of this is conjured up from Coogler’s very eclectic career where he has worked as both an indie filmmaker and studio director. Coogler takes Black Panther in an interesting direction and uses Wakanda’s position in the world to craft a cool-James Bondesque spy film set within the Marvel Universe. There’s a tonne of emphasis on cool gadgets, slick suits and some power hungry villains and all of it makes for a great cinemagoing experience. Coogler also injects the film with some very heavy themes, such as the relationship between fathers and sons and what it means to live up to your legacy, while also finding your own place in the world. These themes make for a far more deeper cinematic experience and richer characters that will really make you think and examine your own life when you leave the film.

Taking centre stage in Black Panther is Chadwick Boseman as Wakandan prince turned King T’Challa. First introduced in Civil War, Boseman instantly struck a cord with Marvel fans as the famed warrior-monarch and here we get the chance to see behind the curtain. Boseman has invested a lot into the character of T’Challa and his past as a stage actor allows him to go to a deeper place with the character. Boseman’s physical transformation is also impressive and he is significantly ripped and possessed of a cat-like grace that reflects his position as the Black Panther. He has the agility and balance of a dancer and the pace of a world-class athlete and when he does commit to his numerous fight scenes he really shines.

Boseman also effortlessly walks the line between king and superhero and this stems from his character’s dedication to truth and justice. He does not fall in line with his nation’s isolationist policies and as he moves to become King he must step up and show that he can lead. He also has to contend with the sins of the past and the legacy of his father while building his own legacy, and these tough choices only make him a stronger character.

Every hero needs a villain and T’Challa finds his in the brutal and intimidating terrorist turned revolutionary Erik Killmonger played by a threatening Michael B. Jordan. While he may have built his career playing the affable nice guy, Jordan does a full 360 with Killmonger. He brings a brooding, hulking presence that is framed by a deadly intelligence for strategy and which is backed-up by extensive Black Ops training. As soon as you see him on screen Jordan demands your attention and you can’t take your eyes from him. He’s a really nasty villain with a significant grudge against T’Challa and this only fuels his desire to destroy the Panther monarch and take his crown and his nation from him.

But while Killmonger considers himself to be a self-made revolutionary his wrath and fury comes from a place of extreme pain. Just like T’Challa, he is a man of many layers and after witnessing these you definitely feel a deep empathy for him. Jordan’s portrayal of Killmonger stands in my opinion as one of Marvel’s more intense and fully realized villains and stands next to Tom Hiddleston’s Loki in his performance as a fully realized character. It’s hard to have a villain that can stand toe-to-toe with the hero and this is exactly what Jordan does and he’s really crafting the new standard for future Marvel villains in his performance.

Coogler also packs out his adaptation of Black Panther with a terrific array of talented women. Lupita Nyong’o steps into the role of T’Challa’s love interest and Wakanda espionage agent Nakia. This super-slick spy has experience living out in the world for Wakanda and she uses her vast knowledge to impart tolerance and justice to her king and lover. As an audience member you also really buy the sense of connection and chemistry that exists between Boseman and Nyong’o up on screen. Standing next to Nyong’o and acting as a watcher for Boseman’s T’Challa is Danai Gurira as the tough-as-nails and supremely proud and disciplined Wakandan general Okoye. As the leader of T’Challa’s personal bodyguard, the Dora Milaje, she commands supreme respect and is a leading part of T’Challa’s conscience. Gurira is also a capable performer and her stunts and fight scenes are very impressive to watch up on screen.

Making a scene-stealing entrance though is newcomer Letitia Wright as T’Challa’s younger sister Shuri. This quick-witted genius is one of the smartest brains in the world and is at the forefront of Wakanda’s vast technology empire. She also relishes being a teenager and is always trying to pull jokes or pranks on her older brother, even though he’s a king. Wright is a fresh new talent and she’s amazing up on screen. Finally, Angela Bassett brings a deep sense of pride and maturity as Wakandan Queen Mother Ramonda who seeks to guide her son in the right direction.

Black Panther offers audiences a huge canvas and is packed out with plenty of awesome action set pieces. Coogler frames it in a James Bond type of setting with lots of exotic locations, fast cars and technologically advanced gadgets. While the majority of the film is set within Wakanda, Coogler gives the film a very international flavour and it is something that makes the film appealing to all audience members no matter what their culture may be. He’s been very respectful to reflect Wakandan’s African origin and this allows him to create a very bright and colourful film that really brings your senses alive.

I also have to give a big thumbs up to the amazing combat sequences within the film. Whether it be a high-speed car chase to a duel to the death, Coogler throws everything at this fast-moving film. Boseman’s cat-like grace is once again on display and his combat system incorporates a lot of African styles of martial arts and traditional combat including the assegai and the iklwa. This is counter parted with Killmonger’s fight style which is far less graceful and more designed around high-impact close quarter battle techniques and highly aggressive strikes for maximum damage. The showdown between T’Challa and Killmonger, in my opinion, is the film’s penultimate fight sequence and both actors go into it with everything they’ve got. It’s a particularly intense battle and you’ll definitely hold your breath for what comes next.

Black Panther is a bold new addition to the MCU and does a wonderful job of setting up the future for further storylines and characters. It’s an important chapter in this long-running franchise and fans will be very impressed with the adaptation and the possibilities of future appearances by Black Panther.

Black Panther is simply a terrific achievement in superhero-action cinema that hits you on so many levels. It’s incredibly enjoyable to watch and has a lot of heart at its centre. Ryan Coogler and Chadwick Boseman have made a film that is truly for everyone and long-time Marvel fans will be very pleased with this one.

Image: Walt Disney Pictures.

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This statement made by rising contender Adonis ‘Hollywood’ Johnson (Michael B. Jordan) is the driving force behind director Ryan Coogler’s Creed, and will move audiences to cheer loudly as this young fighter makes his play to define his own legacy. Here’s the synopsis:

Adonis Johnson Creed (Jordan), the illegitimate son of former World Champion Apollo Creed (Carl Weathers), is determined to follow in his father’s footsteps. It’s this motivation that brings him to Philadelphia where he meets his father’s former opponent and best Friend Rocky Balboa (Sylvester Stallone) to request his help to become champion.

While fans of the Rocky film series are sure to line up for this epic spin off, Creed is very much a unique and strong contender in its own right. Here’s five reasons to watch:

5. All in the ring

Creed is firmly about the culture of fighting, and the physical, mental, and spiritual strength that it requires to be a fighter. All of this leads to some incredible ring footage courtesy of Coogler and his cinematographer Maryse Alberti. With the use of well-defined steadicam footage audiences will feel every punch that is pulled, and every smack that comes Adonis’ way. Coogler also continues a long time tradition of filling the Rocky films with real fighters including Tony Bellew, Andre Ward and Gabriel Rosado.

4. Philly: the city of brotherly love

Playing a larger role in the film’s events is the city of Philadelphia, which comes to serve as Adonis’ training ground, and inspires his connection with Rocky Balboa. Coogler demonstrates his understanding of the significance that Philadelphia plays within the Rocky franchise, and utilises well-known landmarks and events made famous by the previous films, while finding new ways to shine a light on their importance to Adonis’ growth as a fighter.

3. Sylvester Stallone: The Italian Stallion

The legendary Sylvester Stallone has returned as former two-time world champion Rocky Balboa and while it’s been a number of years since his final bout against Mason Dixon, he’s still mourning the loss of his wife Adrian, and now his best friend Paulie. While the arrival of Adonis sparks a renewed interest in his life, Rocky still has his own personal battles to fight, and once again this underdog rises to the challenge with a new ally in his corner. Stallone effortlessly channels the local neighborhood hero we’ve come to know and love, and slips into his role as a Adonis’ mentor pretty fast. It’s a change of pace for audiences seeing Rocky as a trainer rather than at the punching bag, but Stallone has the gravitas, knowledge, and respect to convincingly pull off Rocky in this new phase.

2. A new interpretation 

Director Ryan Coogler has openly commented that he is a lifelong fan of the Rocky series. With Creed, he brings us a familiar tale in a whole new light that extends the franchise with terrific new possibilities. Drawing from his own real life experience as an athlete to shape Adonis journey, and his working relationship with Michael B. Jordan which was formed on the phenomenal Fruitvale Station, Coogler really pulls the audience into the film through Adonis’ solid character arc from back alley punk to contender. At all times the audience feels the respect that Coogler gives to Stallone, while still making the film is own with solid directing and total control over the story.

1. Michael B. Jordan: fighting for his name

At the centre of Creed is the phenomenal talent that is Michael B. Jorden, a young thespian who is slowly but surely proving that he has the chops to become one of the greatest acting forces of his generation. With absolute commitment Jordan jumps head first into the role of Adonis, and channels the resentment and anger he feels as Apollo Creed’s illegitimate son. His only way to overcome that is to fight, and Jordan does this with grit and determination. Adonis’ journey and quest for purpose is easily identifiable, and audiences will cheer him on as he fights to make his own legacy a reality.

Image source: Roadshow Films.

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