Review of Rocky III (1982) by Andrew S — 27 Jul 2009

This is a true product of it's time and is the beginning of what would become a decidedly un-Rocky like series, while it's leaps and bounds above Rocky V, it actually feels more out-of-character than the abomination that is yet to come.

The issue is not in Rocky's character arc, which makes perfect sense and is a great avenue to explore, but in how we find Rocky. He is a big shot now, that much is clear from the rousing opening montage set to the now iconic "Eye of the Tiger" by Survivor. There is arrogance, there is complacency, clear parallels to Apollo Creed, this much is necessary because it's the backbone of the entire film. The problem lies in how Rocky is portrayed through that, he seems more articulate and slick. He lacks that 'punchy' wisdom, that slightly tacky aesthetic, that made Rocky the champ.

Adrian's change in character seems organic, a little money and success would change someone who came from nothing, and so any sense of coldness in Shire's performance comes from this. At heart she's still the same old Adrian, but there is some posturing to be found in both herself and Rocky.

Paulie remains reliably consistent, still a ball of bitterness and rage but a lovable son of a bitch despite this.

The quintassentially 80s quality comes in seeing Hulk Hogan's Thunder Lips, only the 80s could feel a wrestling cameo feel organic. This is also the film that gave us Mr. T, making his presence felt as Clubber Lang. As a boy I could not reconcile that B.A Barracus was the same guy who made a chump out of Rocky, but a chump he makes him. There is something quite devastating about Rocky's absolute humiliation at Lang's gloved fists, immediately followed by Mickey's tragic death. They build him up and tear him down beautifully, it's a necessary measure to create that underdog quality that fueled the previous two films. Rocky is set financially, so the only thing to rob him of is his pride, make him humble again, the one key to Rocky's success. You can feel safe to cheer on a humble hero, and it's to the film's credit that it wins back the support of Rocky despite his apparent selling out.

Enter Carl Weathers. We meet a more humbled Apollo in this film, but not so humble that the pizazz has completely faded from him, he's still a cocky smartass but he has his priorities in place and he's there to help train Rocky up. I credit the film for not blatantly recreating Rocky's training sequence, instead going for something different, which comes in the form of one of the most strangely homoerotic beach runs in all cinema. Short shorts, ridiculous midrift exposing vests and glistening muscles aplenty here. It retains Conti's iconic score, which helps create that sense of continuity. It keeps things distinctly Rocky despite trading the grimy streets of Philly for blue waters and seagulls.

It goes without saying that the final bout is utterlt devoid of blocks, and it doesn't have a patch on the original two fights but they build up the rivalry so well that it's still a real buzz to see Rocky win.

The film struggles along in places but the chemistry between Balboa and Creed really punches the film through the weaker spots. It just feels a little less timeless and little more like a time capsule of the 80s; if only because it was so instrumental in creating many icons of the era.