The standout stage in Creed It's not a fight. It's Adonis Creed, the main character, the ghost boxing in front of a projection of his dead father fighter Rocky Balboa. Adonis has no relationship with his father, but in this brief moment, he inherits the glory of his father's career. Driven by this distant admiration and determined to chart his own path, he spends the rest of the film fleeing the shadow of his father, a struggle that intensifies Creed II. The soundtrack of the film is not so bold. Produced by Mike WiLL Made-It, the disc is an insipid collection of rap and exhausted ballads. "Inspired by" the film, the album is so literal that it hurts.
In theory, Mike WiLL is perfect for a film franchise dealing with the issue of inheritance. A key player in the rap's power play over the past decade, he has established himself as an insightful expansionist. Beginning with the trap and strategically diversifying, he built a solid catalog of hymns for striptease clubs ("Rake It Up"; "pour it"), stunted dances ("Turn on the Lights"). ), of pop bangers ("23"). and all the rest. He often speaks of this versatility as a direct product of his fear of being cataloged. "I do not just want to have a rap label. I want to have an entire label. I want to have a whole dynasty, "he said in 2015." If you are a great producer, you can produce at all levels. No matter what kind of music, "he said earlier this year," You can produce artists. You can produce clothes. You can produce movies. "
Given its proven range and willingness to continue to expand, a soundtrack would no doubt be an ideal platform for Mike WiLL to stretch.
Instead, the recording is grounded for a fault. The soundboard is largely monochrome and dark, confined to a dull gray scale often embellished with drab streaks and dull brass. Reproducing the heavy tone of the film, the atmosphere is usually sad or serious, which ultimately appears to be safe. While the first Creed The soundtrack has reached the rafters and used Philadelphia as a muse for its splendor and strength, this record is unpretentious and tame. Mike WiLL's contact list seems to be his only muse.
While the soundtrack of the first film had the advantage of being a compilation of iconic songs like "Hail Mary" by Tupac and "Wake Up Everybody" by Harold Melvin & the Blue Notes, the original songs (including one was produced by Mike WiLL) were: more than just placeholders. They embodied the spirit of the film by channeling the discord and determination of Adonis into a fun swelling of the chest.
Here, representations are remarkably called or of an embarrassing simplicity. Nas' verse on "Check" is a literal summary of the plot. "He's trying to be a father, but he lost his father because of the same thing," he says. 'Watching Me' wastes excellent lean worms from Kodak Black and Slim Jxmmi to relieve sleepiness Swaecation discard. Quavo recounts the story, piece by piece, of a fight with his bare hands on an imaginative song entitled "F.I.G.H.T." and it is somehow more literally as the name of the song: "Knuckle up, knuckle up / Nigga was hit with the uppercut / He had a break at the eye / Damn, now he can not see, he was shut up. "
Ari Lennox and the brilliant "Shea Butter Baby" by J. Cole, Crime Mob and Slim Jxmmi, "We Can Hit (Round 1)", escape all this literalism and bring a much appreciated camp. Both songs are excessive and, above all, funny. There is only one knockout, however. Pharrell and Kendrick Lamar are dazzling in "The Mantra", casting ideas and ideas in bizarre and technicolor lines. For them, legacies are built both inside and outside the ring, as part of the intensity of the competition and the flexibility of the game. Creed II, which ends with Adonis defending his title by redefining what it means for him. If this colorless collection is the extent of his vision, Mike WiLL could also want to redefine his title – for this output, the super producer is not suitable.