Tag Archives: Steven Caple Jr.

Family Feud

Creed II

by George Wolf

In the history of elephants and rooms, Creed II¬†earns a special mention for its spit take-worthy moment when a boxing commentator finally deadpans,”It’s all a bit Shakespearean, isn’t it?”

Why yes, it is, in fact more than a bit.

It’s a daddy issues melodrama on steroids, one that hits every crowd pleasing note and works every manipulative angle it can pull from the long and storied history of this franchise. And true to the fighters at the heart of these films, the new Creed will not be denied.

Let’s be honest, the first Creed rebooted the Rocky warhorse so effectively, it was a surprising left hook to nearly everyone who hadn’t seen writer/director Ryan Coogler and star Michael B. Jordan’s stunning work in Fruitvale Station.

But that was pre-Black Panther, and though Coogler is missed for this sequel, promising indie director Steven Caple, Jr. displays similar instincts for slaying sentimentality with smaller moments of conviction.

And lots of great fighting.

Much of that needed conviction comes from Jordan, who returns with fervor as Adonis Creed, the newly-crowned heavyweight champ who gets an instant challenge from Viktor Drago (Florian Munteanu), son of…who else but Ivan Drago (Dolph Lundgren), the man who killed Adonis’s father Apollo when Rocky wouldn’t throw the damn towel.

Drago the Younger is huge and strong (one trainer rightly dubs him “a balanced breakfast”), leading Rocky (Stallone), still haunted by Apollo’s death, to advise against the fight.

Adonis also has Bianca (Tessa Thompson, splendid as always and sharing great chemistry with Jordan) and their positive pregnancy test to consider, along with a truckload of pride and unfinished business.

Stallone, who of course started all this with the original Rocky screenplay, steps back in as co-writer, and in many ways Creed 2 becomes just as much Rocky’s story as Adonis’s. But it feels right, thanks to another award-worthy turn from Sly and a character arc that rings true enough to consider moving on without him next time.

Caple, Jr. delivers some of the same grit that made his The Land such a hardscrabble, underseen winner, while also bringing a fresh eye to the boxing choreography. Yes, each round is as unrealistically action-filled as most boxing films, but what do you want, a Pacquiao/Mayweather tap-dance?

No, you want to applaud the good guy knocking the evil Russian’s mouthpiece out while you cheer like it’s Cold War Reunion Night at TGI Fridays, and Caple, Jr. makes sure you will.

It doesn’t hurt when that original Rocky music kicks in, and it’s again weaved into a vital soundtrack subtly enough to not overstay any welcomes.

But beyond all the button pushing, sentiment and nostalgia are characters, and this all falls like a tomato can in the fist round if we don’t have reason to care about them. We still do.

Gotta fly now.

 

Mistakes by the Lake

The Land

by George Wolf

In case you’re not hip to the lingo, “The Land” is Cleveland, city of champions! Sure, that recent RNC downtown was a tire fire, but a basketball championship and a contending baseball team have brought some new found respect home to the North Coast.

Writer/director Steven Caple, Jr.’s gritty feature debut keeps the winning streak going.

Cisco (Jorge Lendeborg, Jr.) is a restless Cleveland teen, skipping school and skateboarding around the inner city streets with his crew Junior (Moises Arias), Patty Cake (Rafi Gavron) and Boobie (Ezri Walker). Stealing cars for quick cash, the boys pop one trunk to uncover a large stash of MDMA capsules, and quickly enter a more lucrative business.

There’s never a doubt that the local drug pusher (a terrific Linda Emond) will come calling, and the familiar genre trappings that follow do hamper the film’s ambitions. That Caple is able to prop them up with other stellar elements says much about both his raw talent and future potential.

His eye for atmospheric detail is sharp, as Caple contrasts intimate settings of the boys’ tough homelife with more panoramic shots of familiar Cleveland landmarks, achieving a nicely subtle reinforcement of the desire to escape.

Impressive instincts for camerawork are here as well, especially during the skateboarding sequences, but Caple has enough restraint to never become overtly showy. The urgent, pulsating soundtrack is another plus.

Even better, and the main reason The Land rises above its lack of freshness, is Caple’s obvious rapport with his cast, and the effective characterizations that follow.

Lendeborg and Arias have the look of real keepers, but all four youngsters are able to convey a desperation that resonates. Kim Coates and Michael Kenneth Williams provide veteran support while Emond channels Jacki Weaver from Animal Kingdom,¬†stealing every scene with polite menace. In a smaller role, Cleveland native Colson Baker (aka rapper “Machine Gun Kelly”) again shows a charisma that could bring more substantial film offers.

There’s nothing in The Land we haven’t seen before, yet there is a style and a vision here that’s welcome, more than enough to brand Caple as a filmmaker full of promise.

Verdict-3-5-Stars