Easy Virtue 2008 Film Izle Türkçe Dublaj

Easy Virtue Film Izle Türkçe Dublaj 2008

süre : 157 saat tutmak Wählerstimme
oylanan şey numara : 2.1/10 (65183 oylamak)
önermenin niteliği : SDDS 1080p
WEB-DL
görmek : 6714
sanatsal : Familie , Ehe
dil : SS,YT,SO,LR,AL,IT,EH,CM,NZL, GBR, COG, ZAF, ISR
içermek : 4.5/10 (98831 Stimme)

Easy Virtue 2008 Film Izle Türkçe Dublaj

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[HD] Easy Virtue 2008 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $013,423,960

Gelir : $887,943,867

Kategoriler : Anthologie - Wild Mountain Epidemic , Rache - Césarisé , Dokumentarfilm - Lebenslauf , Schwert - Uncategorized

Üretici Ülke : Indien

Prodüksiyon : Ruffin Entertainment

A young Englishman marries a glamorous American. When he brings her home to meet the parents, she arrives like a blast from the future - blowing their entrenched British stuffiness out the window.
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Trolls World Tour 2020 Film Izle Türkçe Dublaj

Trolls World Tour Film Izle Türkçe Dublaj 2020

süre : 186 tutanak tutmak Stimmen,

oy numara : 5.7/10 (43187 oy vermek)
soyluluk : M1V 1080p
TVrip
bakmak : 2115
sanatsal : Psychologisches Drama , Frau
dil : NU,VG,NE,MZ,JE,TZ,TC,UZ,SXM, FIN, ABW, PAN, HUN
katmak : 5.9/10 (23762 Votum)

Trolls World Tour 2020 Film Izle Türkçe Dublaj

Trolls World Tour Film Izle Türkçe Dublaj-magnesia-MPEG-2020-stream-download-englisch-italienisch-AVI-mit untertitel-uncut-online schauen-stream hd-deutsch.mp4

Trolls World Tour-özdilek-HDTV-2020-WEB-DL-hd stream-deutsch-kostenlos-HDTS-AVCHD-download-ganzer film-Sonics-DDP-WMV.png

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[HD] Trolls World Tour 2020 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $922,741,588

Gelir : $808,971,299

Kategoriler : Kosmisch - Weihnachten , Evolution - Césarisé , Wirtschaft - Poesie , Chrestomathie - Propaganda

Üretici Ülke : Brasilien

Prodüksiyon : RWP Productions

Queen Poppy and Branch make a surprising discovery — there are other Troll worlds beyond their own, and their distinct differences create big clashes between these various tribes. When a mysterious threat puts all of the Trolls across the land in danger, Poppy, Branch, and their band of friends must embark on an epic quest to create harmony among the feuding Trolls to unite them against certain doom.
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Sorry to Bother You 2018 Film Izle Türkçe Dublaj

Sorry to Bother You Film Izle Türkçe Dublaj 2018

süre : 181 tutanak tutmak Stimmrecht
önerme adet : 2.1/10 (13586 oylamak)
yapı : AVCHD 1440p
WEBrip
bakış : 7924
kurnazlık : Tierangriff , Nach der Apokalypse
lisan : MR,BD,TG,BL,SB,HK,IM,ME,IOT, AZE, PAK, NIU, ZWE
katmak : 1.8/10 (59990 Votum)

Sorry to Bother You 2018 Film Izle Türkçe Dublaj

Sorry to Bother You Film Izle Türkçe Dublaj-beyazperde-MPEG-2-2018-deutsch-DVDScr-SDDS-auf englisch-DVD-AVI-DTS-italienisch-M2V-ganzer film.mp4

Sorry to Bother You-viaport-Blu-ray-2018-stream hd-MPEG-1-FLV-online anschauen-FLA-1440p-FLV-BRRip-hd stream-online schauen.png

_Sorry To Bother You is “unapollogetic”, “unafraid”, “imaginative”._
These are the reviews of audiences, and critics; it’s hard to find someone that didn’t like this movie (unless you’re going to burrow through the Rotten Tomatoes audience reviews, in which case I’m sorry.)

The cast is packed with familiar faces: Lakeith Stanfield (as Cassius) who also happened to be in _Get Out_, Jermaine Fowler who had just finished work on CBS’ _Superior Donuts_, Danny Glover from the _Lethal Weapon_ films, and Terry Crews.

This movie had stunningly beautiful cinematography, and colors inspired by Bruce Block. Which is quite impressive considering the director (and writer) is a rapper with no background in film. But that story, what in the hell did I watch?

If you had seen the trailer and decided you want to go see this movie, maybe see it, but be prepared when that trailer just goes out the window. There isn’t some shocker twist at the end, this is an entirely different story.

Don’t go in thinking this is going to be funny, know that it’s a horror film and it will scar you. Think _Get Out_, but much, much worse (in a good way).
Such a great level of surrealism. I love when the setting is completely believeable, normal people, who could easily be from our world, but their's is totally weird. One criticism I will give is the imperfections in the dubbing, normally not a big deal, but dubbing is so absolutely **vital** to the story of _Sorry to Bother You_ that it is hard to get past. It was still a very pleasant surprise though, one I recommend, and one I particularly commend the core cast's performance in.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
**_A sharp satire that runs a little too long and takes a bizarre left-turn that will alienate many_**

> _In my view, corporations are illegitimate institutions of tyrannical power, with intellectual roots not unlike those of fascism and Bolshevism._
>
[...]
>
_We can - and should - certainly begin pointing out that corporations are fundamentally illegitimate, and that they don't have to exist at all in their modern form. Just as other oppressive institutions - slavery, say, or royalty - have been changed or eliminated, so corporate power can be changed or eliminated. What are the lim__its? There aren't any. Everything is ultimately under public control._

- Noam Chomsky; _The Common Good_ (1998)

A paean to the proletariat. A pro-union battle cry. An ideological evisceration of late capitalism. A deconstruction of corporate greed and the concomitant commercialisation of self-worth necessary to succeed. A critique of identity politics. An allegory of institutional racism in big business. A lampooning of Silicon Valley bro culture. _Sorry to Bother You_, the debut feature of writer/director Boots Riley, is all this, and more. Very much in the key of absurdist fiction such as Dino Buzzati's _Il deserto dei Tartari_ (1940) and Ralph Ellison's _Invisible Man_ (1952), as well as race-conscious satirical cinema such as Robert Downey Sr.'s _Putney Swope_ (1969) and Melvin Van Peebles's _Watermelon Man_ (1970), whilst drawing more direct inspiration from Johann Wolfgang von Goethe's _Faust_ (c.1806-1831), Alex Cox's _Repo Man_ (1984), and the work of Spike Jonze, Michel Gondry, and, bizarrely, Ken Loach, _Sorry to Bother You_ is a black comedy/Juvenalian satire/science fiction/horror/magic realist/allegorical character study. In short, it's impossible to classify. Dealing with the obstacles facing African Americans in a white-dominated corporate _milieu_, and positing that the experience of workers is determined by both labour conditions and race, the film examines labour relations, wage issues, worker solidarity, unionism, mass media, and the dangers of betraying oneself and choosing corporate advancement over friendships, relationships, and personal integrity. Although it's a beat or two too long, and although the spectacularly bizarre left-turn at the end of the second act will surely alienate a lot of viewers, the deconstruction and comic appropriation of code-switching results in a film that is constantly inventive, highly confrontational, and extremely funny.

Set in Oakland, California in an "alternate present", the company WorryFree offers food and lodging in exchange for a lifetime labour contract with no wages, a practice which the Supreme Court has deemed legal and not equivalent to slavery. Standing against WorryFree is the radical group "Left Eye", who organise protests and vandalise WorryFree's billboards. Unconcerned with any of this is Cassius "Cash" Green (LaKeith Stanfield), who lives in his uncle Sergio's (Terry Crews) garage with his girlfriend, Detroit (Tessa Thompson), a performance artist and, unbeknownst to Cash, a member of Left Eye. Struggling to pay rent, and with Sergio close to losing the house, Cash gets a job at the telemarketing firm RegalView, selling encyclopaedia sets. Initially finding it difficult to make any sales, Cash's luck changes when an older co-worker, Langston (Danny Glover), explains that he must use his "_white voice_" to be in any way successful. Proving adept at doing so, Cash quickly rises to become one of RegalView's elite "Power Callers." Meanwhile, a co-worker, Squeeze (Steven Yeun), forms a union and recruits Cash, Detroit, and their friend Salvador (Jermaine Fowler). Despite participating in an organised protest, Cash is surprised to get promoted. Now working in the luxurious upstairs suite, where he's mentored by Mr. _______ (a hilarious Omari Hardwick), Cash learns that RegalView is secretly selling human labour to WorryFree. Despite his misgivings, he is earning a substantial wage, and soon finds himself torn between his career and the labour movement. This is exacerbated when WorryFree CEO Steve Lift (a spectacular Armie Hammer) offers him a salary of $1 million a year to work directly for WorryFree. However, Cash then makes a discovery that changes everything, not just for himself, but potentially for all of humanity.

Riley, who identifies as a communist (but not a Marxist), is best known (thus far) as the lead vocalist of the far-left hip-hop groups The Coup and Sweet Sweeper Social Club. His father, Walter, was a political activist, joining the NAACP [National Association for the Advancement of Colored People] in the '50s, and helping to organise the Greensboro sit-ins in 1960, protesting racial segregation in Woolworths and spearheading the Civil Rights' sit-in movement. Later, he joined CORE [Congress of Racial Equality], SDS [Students for a Democratic Society], and the PLP [Progressive Labor Party]. Riley himself joined the PLP when he was 14, but left when he was 20, subsequently becoming a prominent member of the Occupy Movement in Oakland, and playing a key role in the 15 October 2011 global protests. The screenplay for _Sorry to Bother You_ was inspired by Riley's time working as a telemarketer, and the necessity of altering his voice so as to hide his ethnicity. The script was completed in 2012, but he had no means to make it. Instead, The Coup recorded an album of the same name, based on the script. Of the album, Riley told _The Chicago Tribune_, it talks

> _about the same stuff I'm always talking about. Capital and labour; racial inequality; organising the masses against a caste system of privilege; that sort of thing._

Words which are very applicable to the film. The script was then published in Timothy McSweeney's _Quarterly Concern_ in 2014, and Riley was subsequently invited to the Sundance Institute development labs to hone it further.

At its heart, _Sorry to Bother You_ is an anti-corporate, proletarian rally cry, something with which Riley has been engaged for decades; just listen to "Fat Cats, Bigga Fish" from _Genocide & Juice_ (1994), "5 million ways to kill a C.E.O." from _Party Music_ (2001), or "My Favorite Mutiny" from _Pick a Bigger Weapon_ (2006). In relation to this, Riley tells DemocracyNow,

> _the Taft-Hartely make it so you can't do solidarity strikes. And the reason why they make it so you can't do solidarity strikes is because they're effective. And so, we need a labour movement that's going to break those laws, because the laws that exist make the current ways of organising unions much harder. So, [the film] is almost also a call out to folks that consider theirself radicals._

Similarly, he explains to Hot97,

> _we need to have movements that can actually shut down industries in order to get what we want._

However, unlike Sam Levinson's recent satire _Assassination Nation_, _Sorry to Bother You_ is not especially interested in politics _per se_, certainly not in the explicit sense of films such as Sergei M. Eisenstein's _Stachka_ (1925), Haskell Wexler's _Medium Cool_ (1969), or Warren Beatty's _Bulworth_ (1998). This is not to say that the film ignores politics completely, rather it approaches the subject obliquely. For example, the country's most popular TV show, _I Got the Shit Kicked Out of Me_, involves people being violently assaulted by family and friends and then dunked in a vat of faeces, with Riley providing little to no contextualisation (think _It's Not My Problem!_ from Paul Verhoeven's _Robocop_ (1987), where Bixby Snyder's (S.D. Nemeth) catchphrase, "I'd buy that for a dollar", is used as a one-size-fits-all response to every situation). This mindless consumption of meaningless and morally questionable content indicates the passivity of the masses, their critical faculties either dormant or absent entirely (an inverse _verfremdungseffekt_, if you will). Clips of the show feature prominently throughout the film, allowing Riley to depict a _milieu_ where popular entertainment has reached an unimaginable low. Another example of a pseudo-political aspect of the film are the ubiquitous billboards and TV commercials advertising WorryFree, suggesting the corruption or co-opting of mass media. Additionally, Left Eye clearly recalls Antifa.

However, in relation to the most obvious political target for a film of this ilk, Trump's presidency, Riley has explicitly stated it is not an attack on Trump. Indeed, he wrote the script during the Obama administration, before Trump had even announced his candidacy. To ensure that the audience wouldn't think the film's invective was aimed at Trump, Riley made some changes after the election, such as removing a line where Mr. _______ says, "_WorryFree is making America great again_". On this pseudo-prescience, Riley tells the _LA Times_,

> _there are so many things in this movie that, when I wrote them, hadn't happened yet [...] The reason that these things are becoming more and more clear to us now is because it's connected to our economic system, not just connected to who's in elected office._

As this suggests, Riley's focus is very much on economic issues, with a lot of the humour derived from pecuniary-based situations. One of the easiest ways to parse the film is to approach it as a parable about selling out, equal parts polemic and acknowledgement that it's next to impossible _not_ to sell out in some way. Indeed, the last act of the film explicitly deals with the literal dehumanisation of the workforce (and I do mean "literal" – to say any more would be a spoiler). RegalView and WorryFree exist in an economic system built upon impoverishing the many for the benefit of the few, with Riley attempting to expose the importance of a poverty line for the continued functioning of late capitalism. Within such a system, he suggests, it is exceptionally difficult for African Americans to succeed unless they are willing to code-switch. In this sense, although the concept of "_white voice_" does have a practical function within the narrative, its most salient characteristic is as an object of allegorical satire, a hyperbolic caricature of what African Americans need to do to survive in the Caucasian bro-culture corporate ranks of Silicon Valley; they must literally relinquish part of the self and pretend to be something Other. Speaking to DemocracyNow, Riley explains,

> _the new capitalism is "there is no capitalism here. What are you talking about?" It's like, this is not a workplace, this is a bean bag room. And I'm not your boss, I'm your friend who tells you what to do." And so, as opposed to the oil baron idea, these are the cool people that everyone loves._

This is represented most clearly in the film by Steve Lift.

Interestingly, however, it's not just at RegalView where white voice is necessary; in attempting to woo customers to her art exhibition, Detroit too employs white voice. However, unlike Cash or Mr. _______'s white voices (provided by David Cross and Patton Oswalt, respectively), Detroit's is not only white, it's also British (voiced by Lily James), a distortion not only of her ethnicity, but so too of her nationality. She uses this voice to convince customers to take her art seriously, suggesting that she feels if she spoke in her real voice, they would not do so.

The film also delights in fairly subtle and oftentimes semi-obscure intertextuality. For example, a pair of earrings worn by Detroit declares, "Bury the rag deep in your face". This is from the Bob Dylan song, "The Lonesome Death of Hattie Carrol" (1963), which is about a black barmaid who died after being assaulted by the 24-year-old William Zanzinger, from the wealthy Zanzinger tobacco farming family. Zanzinger was initially charged with murder, but this was later reduced to manslaughter and assault. He was found guilty by a three judge panel and sentenced to six months in prison, as well as a fine of $500. Elsewhere in _Sorry to Bother You_, during a piece of performance art in which she encourages the audience to throw mobile phones and balloons filled with lamb's blood at her, Detroit quotes from Michael Schultz's _The Last Dragon_ (1985), a martial arts movie produced by Motown founder Berry Gordy. Another example of intertextuality is that Mr. _______ dresses like King George (Robert DoQui) from Jack Hill's blaxploitation classic _Coffy_ (1973).

Aesthetically, the film adopts a visual style obviously influenced by Michel Gondry, and, to a lesser extent, Terry Gilliam. An especially interesting aesthetic device, as anyone who has seen the trailer can attest, is how white voice is handled – rather than having the actors simply speak in a different voice, Riley instead has the white actors' voices overdubbed; when Salvador first hears Cash's white voice, he literally tells him "_you sound overdubbed_". However, the lip syncing is, presumably intentionally, far from perfect, with the voice not quite aligning with the actors' mouth movements. This throws the scenes "off" ever so slightly, creating an extra layer of surreality, and highlighting just how absurd the whole thing is, drawing attention to the lengths these people have to go to achieve real success. The fact that our culture places such value on "correct" intonation is, in and of itself, absurd, like an extreme version of the phone voice that pretty much everyone has, and by failing to perfectly sync white voice to black actor, Riley is able to deconstruct and draw attention to this absurdity.

The film's other big aesthetic innovation is having Cash plunge (not especially gracefully) into the living room of the people he calls, desk and all. Obviously, this draws attention to the level of intrusion with which most people greet telemarketers, but, at least in the early stages, it also highlights Cash's own discomfit at being the intruder, seen most clearly when he drops in on a couple having sex. This is an excellently-handled piece of visual shorthand, conveying Cash's internal process, without having him verbalise it at any point.

Also impressive is the acting. While the standout performances are definitely Hammer and Hardwick, Stanfield certainly holds his own, with his body-language providing a clinic of wordless performing. Early on in the film, he's hunched over and put-upon, his every movement seemingly uncomfortable, as if ill at ease in his own skin. Later on, however, after his promotion at RegalView, his physicality acquires a more easy nature, he carries himself more confidently, as if high-powered telemarketing has helped him to find himself, something which is, in the context of the whole, doubly ironic. And no matter how surreal things get (and trust me, they get very, _very_ surreal), the cast keep everything grounded, as if what they're experiencing at any given moment is the most natural thing in the world.

Of course, it isn't all perfect. The wildly unexpected plot twist at the end of the second act will be too much for some people (there were multiple walk-outs at the screening I attended). The film is also just a beat or two too long, and the bottom does fall out to an extent before it reaches its madcap _dénouement_. There's also a mid-credit scene that serves as a kind of epilogue that I'm led to believe was a re-shoot when test audiences found the initial ending too abrupt. For me, however, it doesn't entirely work, and I would have much preferred the original, somewhat darker, ending. Also, with so much satire and humour floating about, almost by definition, not every joke lands, However, the flip side to this is that when Riley's humour does hit the target, it's sublime – Mr. _______ literally beep-denied a name, for example, or Cash's two-word rap being gleefully cheered by Lift's assembled yuppies.

_Sorry to Bother You_ is as timely and relevant as it is funny and irreverent, as progressive as it is radical, and as inventive as it is confident. Exploring the intersection between race and economics from a wholly satirical point-of-view, the film both condemns and sympathises with those who choose to sell-out in some way so as to climb the ladder of success. Now in his late-40s, Riley is a veteran political protestor, a Chomsky-literate agitator, who is here positing that the most significant divide in the US isn't between white and black, it's between those with money and those without. Suggesting that the desire to cross this divide can lead to a herd mentality, the film argues that the labour force must never forget their collective strength, and must never turn on one another, as in such a situation, management will use workers like horses. A hugely impressive debut, and it will be interesting to see what Riley tackles next.

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[HD] Sorry to Bother You 2018 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $963,454,418

Gelir : $494,022,956

Kategoriler : Mädchen - Freiheit , Muss Depression Katastrophenrat - Poetry , Glaube - Poesie , Maritimes Drama - Liebesfilm

Üretici Ülke : Bahamas

Prodüksiyon : Lemming Film

In an alternate present-day version of Oakland, black telemarketer Cassius Green discovers a magical key to professional success – which propels him into a macabre universe.
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The Bad Guys: Reign of Chaos 2019 Film Izle Türkçe Dublaj

The Bad Guys: Reign of Chaos Film Izle Türkçe Dublaj 2019

devam : 181 saat tutmak Wahlstimme
önerme sayı : 0.7/10 (62943 önermek)
nitelik : MPG 1080p
DVD
görünüm : 7119
şeytanlık : Treue , Zukunft
dil : MM,BS,JE,RO,NZ,AE,ZM,MV,GLP, TGO, THA, SVN, HMD
katılmak : 9.8/10 (00773 Stimmrecht)

The Bad Guys: Reign of Chaos 2019 Film Izle Türkçe Dublaj

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The Bad Guys: Reign of Chaos-giriş-müziği-DVD-2019-MPEG-1-film-Bluray-Sonics-DDP-Sonics-DDP-Dolby Digital-ganzer film-DAT-untertitel-DAT.png

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[HD] The Bad Guys: Reign of Chaos 2019 Film Izle Türkçe Dublaj

Kısa film

Harcandı : $831,075,828

Gelir : $817,492,445

Kategoriler : Drama - Brüder , Ideen - Stumm , von cops - Raumschiff , Erotik - Unabhängigkeit

Üretici Ülke : Tonga

Prodüksiyon : Podium Pictures

Chief of the ‘Special Crime Unit’, OH Gu-tak, looks for the former gangster, PARK Woong-chul, whom he had worked with before, and recruits a con artist, KWAK No-soon, and a convicted cop, KO Yoo-sung in the new team. With new blood, the ‘Bad Guys’ have become stronger and tougher. As they dig deeper into the case, they sense that a much bigger crime organization is behind it all and they begin the hunt for bad guys…
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Creed II 2018 Film Izle Türkçe Dublaj

Creed II Film Izle Türkçe Dublaj 2018

süre : 148 zabıt tutmak Wahlstimme
oy adet : 5.7/10 (99177 oylayarak kararlaştırmak)
nitelik : FLA 1080p
BRRip
görüntü : 6463
şeytanlık : Geld , Docudrama
dil : GG,VE,GI,CG,SS,AD,KY,GP,MKD, FJI, COG, CHL, RWA
sayı : 4.0/10 (91192 Stimmrecht)

Creed II 2018 Film Izle Türkçe Dublaj

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Creed II-kuşadası-MPEG-2018-MPE-MPEG-1-hd stream-italienisch-M4V-Dolby Digital-auf englisch-BRRip-M4V-DTS.png

that's the movie I wanted to see badly for a long time I watched its first part that was too awesome and creed 2 is marvelous I had to do my college homework but I skipped that just to watch creed 2 the training part and the last fight I can't describe in words what I feels after watched.
**_Decent enough, but adheres far too rigidly to the_ Rocky _template_**

> _I have not met one person who didn't like a_ Rocky _movie._

- Steven Caple Jr.; "How _Creed II_ Director Crafted His _Rocky IV_ Successor" (Mia Galuppo); _The Hollywood Reporter_ (November 21, 2018)

Ryan Coogler's _Creed_ (2015) was probably the best of the remakequels (ostensible sequels that are, for all intents and purposes, remakes) that came out in the mid-2010s (the most obvious ones being J.J Abrams's _Star Wars: The Force Awakens_, Colin Trevorrow's _Jurassic World_, and Adam Wingard's _Blair Witch_), and was the first _Rocky_ film not written by Sylvester Stallone, and not directed by either Stallone or John G. Avildsen. After _Rocky Balboa_ did the seemingly impossible, redeeming and concluding the franchise after the damage done by _Rocky V_, _Creed_, written by Coogler and Aaron Covington, and directed by Coogler, did something even more unlikely – revitalising the franchise with Rocky himself as a supporting character. For the sequel, Stallone is back as a writer (sharing credit with Juel Taylor, from a story by Sascha Penn and Cheo Hodari Coker), with Steven Caple Jr. directing (Coogler is credited as an executive producer). Whereas _Creed_ was essentially a remake of the original _Rocky_, _Creed II_ is more of a combination of _Rocky III_ and _Rocky IV_, with some elements from _Rocky II_, and whilst it hits all the beats one expects from a _Rocky_ movie, the problem is that it hits them so slavishly, and does little else. It also, perhaps inevitably, suffers badly in comparison to its predecessor, especially in terms of direction – whereas Coogler's directorial work was assured, distinctive, and inventive, Caple Jr.'s is pedestrian and functional. Had it strayed from the formula just a tad, the way _Creed_ did, the way _Rocky Balboa_ did, it would have been a much better film instead of a bland rehash of something we've seen multiple times (and not just in this franchise, but in virtually every boxing movie). The kernel for a terrific film is there, but the execution is not, it features a litany of clichés, it's dull, repetitive, the antagonist's subplot is infinitely more compelling than the main plot, and the culminating fight is almost parodic in design.

In _Rocky IV_, former WBC Heavyweight Champion Apollo Creed (Carl Weathers) was killed in the ring during an exhibition bout against Ivan Drago (Dolph Lundgren). Determined to avenge the loss of his best friend, reigning champion Rocky Balboa (Sylvester Stallone) travelled to Moscow, where he not only defeated Drago, he also got the Soviet crowd on his side. 33 years later, Ivan's son, Viktor (the man-mountain that is Florian Munteanu), is training as a professional boxer in Ukraine, under the watchful eye of promoter Buddy Marcelle (Russell Hornsby). Meanwhile, in Philadelphia, three years after his professional debut against "Pretty" Ricky Conlan (Tony Bellew), Apollo's son, Adonis Creed (Michael B. Jordan), is preparing for a bout against the champion, Danny "Stuntman" Wheeler (Andre Ward). Upon winning the title, Adonis proposes to his girlfriend, Bianca Taylor (Tessa Thompson), who says yes. Life seems perfect. That is until Viktor and Ivan head to the US and issue a very public challenge to Adonis. Meanwhile, Ivan tells Rocky, who is in Adonis's corner, that the fight is a way to regain honour for the Drago name, explaining that after their bout 33 years ago, he lost everything, including his wife, Ludmilla (Brigitte Nielsen), who left him shortly after Viktor's birth. Spurred on by Marcelle, and seeing an opportunity to avenge his father's death, Adonis plans to take the fight, but is warned against doing so by Rocky. When Adonis insists, Rocky says he can no longer train him. Adonis and Bianca move to Los Angeles so she can pursue her singing career, moving into a luxury apartment near Apollo's widow, Mary Anne (Phylicia Rashād). To replace Rocky, Adonis recruits Tony "Little Duke" Evers (Wood Harris), Wheeler's former trainer, and son of Tony "Duke" Evers (Tony Burton), who trained both Apollo and Rocky in the past. Feeling betrayed by Rocky, and finding it difficult to adjust to the recent changes in his life, including the fact that Bianca is pregnant, Adonis's preparations for the bout are not what they should be, whilst Ivan makes sure to push Viktor as hard as he possibly can.

What's perhaps most surprising about _Creed II_ is that not only is it a sequel to _Creed_, it's also a sequel to one of the most ridiculous films of all time, and one which certainly didn't cry out for a continuation of the narrative, _Rocky IV_. _Creed_ recast the _Rocky_ template for a modern audience, setting it in a social-realist African-American _milieu_ and relegating Rocky to a supporting player. _Rocky IV_, by contrast, was the movie wherein the franchise abandoned all semblance of realism; the film in which Rocky himself, the working-class everyman, became a superhero (he even had a talking robot sidekick), travelling to the Soviet Union, defeating Communism, and winning the Cold War by preaching _glasnost_ to the Soviet people (two years before Ronald Reagan's "_tear down this wall_" speech). It's a movie so ridiculous that the poster quite literally tells you how it ends! It also features Sylvester Stallone all but sexually abusing Sergei Eisenstein's theories of montage. The first example of such (Rocky driving pensively into the night) is a montage of Rocky thinking about montages, and the second (Rocky training by cutting down trees and running atop mountains) is probably the most 80s thing to ever exist. The film is, in fact, so preposterous, far-fetched, and ludicrous that if you're unable to have fun watching it, you may as well just stop watching movies.

From an aesthetic point of view, _Creed II_ is largely unremarkable (there's certainly nothing as epic as the single-shot fight from the first film), but one aspect that did stand out is the sound. As the first film established, Bianca is losing her hearing, something which is manifested in the aural design of _Creed II_ several times. At the start of the film, for example, as Bianca walks through the backstage area prior to the title fight, the sound of the crowd is soft and distanced until she puts in her hearing aid. Later, when Creed is training in a swimming pool, Bianca and Mary Anne are talking at another location, with their conversation carrying over his scenes. However, every time he goes below the water, the sound of their voices dulls as if it were diegetic. When Adonis is knocked down during his bout with Viktor, all sound is pulled from the film, only returning when he locks eyes with Bianca in the crowd. Even Adonis's marriage proposal involves her hearing aid. This is all thematic, of course, insofar as they are worried their child may inherit her hereditary hearing loss.

Thematically, legacy is a huge issue in _Creed II_, particularly as it relates to fathers and sons – Apollo and Adonis, Ivan and Viktor, Duke and Little Duke. Rocky himself is something of a surrogate father to Adonis, and is estranged from his own son, Robert (Milo Ventimiglia, who played the role in _Rocky Balboa_), and a grandson he has never met. Whilst _Creed_ saw Adonis use boxing as a way to symbolically bond with a father he never knew, _Creed II_ is more concerned with the emotionally fraught terrain that can result when fathers try to live vicariously through their sons, and when sons must live with their father's failures. Everything Viktor does, for example, is an attempt to earn Ivan's approval, whilst Ivan sees Viktor as the only way to atone for what happened to him after losing to Rocky.

Indeed, the depiction of the Dragos in general is especially interesting, and is both one of the best aspects of the film, and simultaneously one of the most problematic. In _Rocky IV_, Ivan was a cartoon villain, a badly written, pseudo-xenophobic hyperbole of what some Americans seemed to think Soviets were like. He was barely one-dimensional. In _Creed II_, he's still relatively thin as a character, but Lundgren is given enough room to portray him as essentially broken, living on nothing but bitterness, resentment, and shame. When he meets up with Rocky in the latter's restaurant, promising, "_my son will break your boy_", he comes across as more pathetic than anything else, a million miles from the almost automaton-like warrior of three decades prior. When Ivan mentions their fight, Rocky tries to dismiss it, "_that's like a million years ago_." Ivan, however, replies, "_but just yesterday to me_." One gets the impression that from the moment of his loss he's been waiting for this, seeing his son as nothing more than the delivery method of his vengeance. Ivan has raised Viktor in pure hate, teaching him that the only thing that matters is winning, but you can see in every move that Viktor is far more concerned with earning his father's respect – winning as an end unto itself means relatively little to him. There's a lot of pathos in that, and both Lundgren and Munteanu act the hell out of the complex dynamic. Working with Stallone for the fifth time, Lundgren's understated and subtle performance is easily the best of his career, and the best in the film, with the quietness that spoke to lack of interiority in the previous film, here suggesting a deeply felt pain.

The training montages also do something very interesting in respect to Viktor. Showing him jogging through economically impoverished communities, stacking crates, lugging around bags of cement, and working with less than state-of-the-art equipment, the parallel is not to Ivan, who trained with hi-tech gizmos and gadgets in _Rocky IV_, but to Rocky's training in the original film. Indeed, whilst Adonis lives in a luxury apartment, Viktor and Ivan live in a dingy bedsit in Ukraine that recalls Rocky's original digs in Philadelphia.

The problem with all of this is that the Dragos' story is by far the most compelling one in the film. One should not come away from a film named _Creed II_ wishing there had been less Creed and more of the antagonists. Although Creed, Bianca, and Rocky all get a little character development, the most interesting story arc is that of Ivan. Set against the complex and fascinating Drago family drama, Creed and Bianca's story is pretty insipid, and is essentially a rehash of Rocky's relationship with Adrian (Talia Shire) in _Rocky II_. The most dramatic and heartfelt moments of the film involve Ivan and Viktor, and the long middle section where Creed falls into a depression seems to go on forever; the whole time we were watching him fall apart, I was yearning to get back to the Dragos.

And this feeds into the film's most egregious problems – its rigid adhesion to the _Rocky_ template, and the concomitant predictability. Chances are that everything you think might happen in _Creed II_ does, as the film makes no attempt whatsoever to be original. Aside from the Drago subplot, there is nothing here that we haven't seen before. Granted, the _Rocky_ franchise has always tended to wear its predictability like a badge of honour, and the core template does undoubtedly work. But even when a film adheres to that template, one shouldn't be able to predict each narrative beat with near perfect accuracy. Even _Rocky V_, as awful as it was, tried something new, culminating with a street fight rather than an in-ring bout. It didn't even remotely work, but the thinking behind it was admirable. Aside from two unexpected cameos, _Creed II_ never once caught me off-guard, doing nothing original, unexpected, or in any way daring. And because of that, for large portions of the runtime, particularly the middle section, the film is interminably boring.

Even the boxing itself is not especially well-done. The cinematography by Kramer Morgenthau (_Thor: The Dark World_; _Chef_; _Terminator Genisys_) is fine, but nothing special, and pales in comparison to Maryse Alberti's work in the first film. Similarly, Caple Jr.'s direction is efficient, but not in the same ballpark as Coogler's. Aside from Martin Scorsese's _Raging Bull_ (1980) and Michael Mann's _Ali_ (2001), both visually unique in their own ways, _Creed_ is arguably the most technically proficient boxing movie in terms of in-ring competition. _Creed II_, however, shoots all the fights very conventionally, holding a fairly uniform three-quarters distance from the actors, with Caple Jr.'s only trick seeming to be slow-motion, which he grossly over-uses. This has the effect of making the fights seem repetitive, even when the story being told by the fighting action is different (which isn't helped by the fact that Ivan tells Viktor to "break him" about 150 times).

While we're on the subject of the boxing itself, the culminating fight between Adonis and Viktor is beyond ridiculous, even for this franchise. The boxing in _Rocky_ films has never been even remotely realistic, with a laughable number of haymakers landing cleanly in every round of every fight, but _Creed II_ takes this almost to the point of parody. In the recent Deontay Wilder vs. Tyson Fury fight, the total power punches landed was 31-38 from 182-104 thrown (17%-36.5%), whilst overall punches was 71-84 from 430-327 (16.5%-25.7%). These numbers are a little below the heavyweight average (which is 15 punches per round), but they're not especially unusual. In one round towards the end of _Creed II_, I counted Creed landing 19 power punches to Drago's 12. That's just ridiculous, to the point where it completely takes you out of the film. There's also an unintentionally hilarious moment when Adonis is knocked down, and Little Duke, apparently auditioning as the worst corner man in boxing history, looks out to Bianca in the crowd and shrugs!

Insanely, even "Gonna Fly Now", that most fundamental aspect of all _Rocky_ movies (except the one it wasn't used in) is underwhelming; whereas the first film used it to carry the audience to the emotional highpoint, combining Ludwig Göransson's interpolation of Bill Conti's legendary score with the on-screen action and Rocky screaming, "_You're a Creed_" as a way to inspire Adonis off the canvas, _Creed II_ just kind of randomly drops it into the mix without a whole lot of justification or thematic relevance.

Although there are some laudable elements here, _Creed II_ is a disappointment in almost every way, from the dull and soulless domestic scenes to a _dénouement_ that goes beyond suspension-of-disbelief, with not a hint of unpredictability. By essentially deconstructing the _Rocky_ template, _Creed_ found its way to unexpected thematic depths, recasting the great-white-hope subtext into a narrative about a struggling black man, whilst also examining notions of masculinity in the 21st century, and having Rocky himself face his own mortality. _Creed II_ exists entirely on the surface. Sure, the _Rocky_ melodrama is there, the _Rocky_ fights are there, the Stallone one-liners are there, but with a narrative focused almost entirely on the less interesting characters, this has to go down as a missed opportunity. Apart from the Drago subplot, everything is by-the-numbers. Yes, we care about these characters, but that's primarily because of the previous films, and whereas _Creed_ forged a path very much its own, _Creed II_ returns us to the safety of the overly familiar.

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Between personal obligations and training for his next big fight against an opponent with ties to his family's past, Adonis Creed is up against the challenge of his life.
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