There’s a layer of meta in the film as well; Creed is unwilling to take on his father’s surname, and this film in unwilling to take Rocky’s name to promote itself – this is Creed’s film and will be recognized as such, rather than ‘just another Rocky sequel’.
It doesn’t reach the iconic triumphant running scene from Rocky but it almost gets there, and leaves you pumped by the time you leave the theater.

Brilliant performances, combined with a great storyline and fitting tributes to the old Rocky films make Creed a memorable watch. Go catch it for Stallone, for Rocky. ‘Nuff said!   

With its tearful mothers and musical interludes and unfettered emotions, Creed comes close to the spirit of films made in this country. What could not have been achieved here is the kind of immediacy to the fighters it allows. Coogler keeps the fights free of distracting camera effects, and the results are as close to the real thing as possible. You can feel the weight of the punches as they land, hear the whistle of the rope as Adonis skips during training.

The success of the film is also that it communicates the nostalgia even to those who are outsiders to the Rocky fandom. Yet Creed sags from time to time because of its lightweight script. It’s a good natured, cheery film but the tone becomes too sentimental in parts.

In keeping with one of the many boxing movie traditions invoked by that Creed, a full-throated yes follows a half-hearted no.