Rocky
Balboa marks the sixth film in the franchise, and the first installment since
1990's widely ridiculed Rocky V. Come to think of it, I think I am, perhaps, the
only film lover in the free world, that actually enjoyed Rocky V. I know it to
be a silly film with it's idiotic logic (upon Rocky's return from Russia, his
son has, somehow, aged seven years) and it's weak ass villain (sorry Tommy Morrison),
but breaking it down logistically, it's no sillier than Rocky IV's attempt at
creating some kind of absurd metaphor for World War III. Getting back to the subject
at hand, I'm happy to report that Rocky Balboa, while hardly perfect, is a much
stronger film than the last two installments.
In
this sweet love letter to Rocky fans, Balboa is still very much the charmer he
was in the original film. While trying to cope with the loss of his beloved Adrian,
Rocky passes his time running a restaurant in his old Philadelphia stomping ground.
The aging champ discovers he still has a little something "left in the basement"
when he views a virtual boxing challenge on ESPN. In the animated match, it's
old school vs. new school as Balboa is thrown into the ring and pitted against
the current heavy weight champ, Mason "The Line" Dixon, a young, hungry,
fiercely competitive fighter whose lost a lot of respect among sports fans. Compelled
to let his inner anger out, Balboa decides he wants to train and engage in some
smaller Philly boxing matches, but he's once again dragged into the limelight
when Dixon's camp approach him and try to entice him into taking part in an exhibition
fight. Faster than you can say "training montage," Rocky agrees. After
all, he's got nothing to lose even though his somewhat estranged son Robert wholeheartedly
disagrees.
Getting
this film made has been no easy task for Stallone. And in fact, his struggles
to make the movie mirror Rocky's own exploits in the original flick from thirty
years ago. No studio took the project seriously. Finally, Sly got the funding
but making the movie would only be half the battle. Would the film going public
buy into a flick featuring an over the hill boxer getting into the ring one last
time? The laughter I heard from the audience during the coming attraction trailer,
suggests no. What is wrong with these people? Am I the only one who wants to see
this movie? Say it isn't so.
There
are certainly several things that don't work in Rocky Balboa. For starters, much
of the film is painfully underdeveloped. Rocky's relationship with his son for
instance is handled in a rushed manner. The subplot in which Rocky re-connects
with a most unexpected lady from his past is interesting, but I kept wondering
why he never bumped into this gal before. After all, Balboa had been living in
this area for a long time. Surely, he would have had a run in with this woman
at some point. Secondly, Rocky has one too many heavy handed speeches in which
his profound words of wisdom affect those around him (although I do admit, his
verbal attack on the boxing commission is incredibly inspiring). Third, I found
some of Stallone's directing techniques to be a bit on the sloppy side. The first
half of the climactic boxing match is plagued by intrusive, MTV music video style
editing and dull black and white shots. Sly also resorts to some poorly utilized
dissolves. Finally, suspension of disbelief is required to fully enjoy Rocky Balboa.
The idea that Rocky would jump into the ring with Dixon after not having fought
in years is a massive stretch.
So
why the B rating? Because I never once doubted Stallone's sincerity. This is a
Rocky movie, complete with charm, a training montage, an exciting brawl, and music
by Bill Conti.
Sly
effortlessly eases back into the role that made him a star. His performance is
simply heartfelt (and this is, perhaps, his strongest work since his brilliant
turn in Copland). What can I say? I love the big lug. When he breaks down in front
of Paulie and suggests that he has pent up hostility brewing deep inside, I really
felt for him. Furthermore, I wanted to see that hostility unleashed in the ring.
And while we're on the topic of Paulie, how about special props to Burt Young
who once again brings a wonderfully crotchety sensibility to this truly original
individual. Young has the funniest line in the film. Listen to his reply as he's
asked if he has a reservation upon entering Rocky's restaurant (which, coincidentally,
happens to be named Adrian's –fitting). The reply, while racist, is an absolute
riot.
Antonio
Tarver appears as Rocky's opponent and while his Mason Dixon lacks the swagger
of Apollo Creed, the fury of Clubber Lang, and the sheer enormity of Ivan Drago,
he proves to be a far more intriguing challenger than Tommy "The Machine"
Gunn.
Once again,
Stallone plays the underdog card to strong effect. We know where this movie is
headed, and Sly doesn't pretend that we don't. He deftly applies the age old "If
it ain't broke, don't fix it" methodology.
As
sappy and preachy as Rocky Balboa tends to be, Stallone does display a certain
level of maturity here, particularly where the climax is concerned. The boxing
match is surprisingly restrained in terms of choreography. The jabs and so forth
are a little more easy to swallow than the massive head blows in Rocky IV, and
I'll be damned if the fight doesn't work it's magic even though we've seen it
several times before.
This
movie isn't as effective as, say, Cinderella Man or this year's Invincible (films
that were clearly inspired by the original Rocky) but I'll be damned if I wasn't
entertained.
Rocky
Balboa is not a perfect movie, but it's incredibly charming, has a lot of heart,
and, as I said before, it's very sincere. Stallone has a great fondness for this
character, so it's perfectly acceptable that he'd want to explore him later on
in life. This isn't a reboot like Batman Begins, Superman Returns, or James Bond.
This is more of a gentle swan song. Stallone wants to offer up a sense of closure,
and as far I'm concerned, he's done it gracefully.
