A hard hitting and cerebral boxing film that features a scene stealing performance from Jonathan Majors and assured direction by Michael B. Jordan, Creed III hits on its themes of guilt, forgiveness, and responsibility, but is missing that rousing Rocky spirit.

Three films into the Creed film series and it is clear that this spin-off from the Rocky franchise is no longer the Sylvester Stallone show. Not only has Rocky Balboa disappeared from the screen, yet his name is rarely uttered in this third entry, as if he were a dreaded ghost of the past.

What Creed III does have is Michael B. Jordan, who as actor, producer, and director (his debut) has made it clear that he is the captain now. Where the first two Creed movies had much in the way of nostalgia to the original Rocky series, Jordan – along with screenwriters Zach Baylin and Keenan Coogan – have taken the story of Adonis Creed into a bold new direction: darker, topical, personal, and psychological. Yes, many punches are thrown in the ring, yet it is the hits that land outside the ropes that have the most power.

Jordan reprises his role as Adonis Creed, the heavyweight boxing champion now retired and splitting his time as a family man to wife Bianca (Tessa Thompson) and daughter Amara (Mila Davis-Kent), and as a boxing promoter who has in his stable of fighters the current world champion Felix Chavez (Jose Benavidez). When a ghost from Adonis’ past in former boxing prodigy Damian Anderson (Jonathan Majors) returns, Adonis is conflicted with feelings of guilt and loyalty, emotions that Damian exploits, leading to a showdown in the ring between these once friends turned adversaries.

Majors delivers a scene stealing performance of raw charisma, cunning intelligence, and powerful physicality. In the pantheon of Rocky/Creed villains, Damian Anderson is one of the more interesting and complex in and out of the ring, the result of Majors’ tremendous acting and the fine screenwriting.

Jordan is solid in his third outing as Adonis, yet where the multitalented actor really flexes his muscles is his direction. While following the visual cues of Creed directors Ryan Coogler and Steven Cable before him, Jordan leaves his own imprint, especially in the films boxing scenes that prove to be a war of the mind as well as the body, the psychological scars of the past now gaping wounds of the present that spill forth all matter of negative thoughts that Jordan visualises with innovative, impressive visual aplomb.

While Creed III addresses the physicality and psychology of these two men at war with each other and within themselves, it is the spirit that is surprisingly lacking. It can be felt in Joseph Shirley’s lacklustre and dour score. It can be seen in the patented training montages that while visually competent, lacks soul and rhythm and inspiration.

With Stallone gone, it only makes sense that Jordan makes his mark on what is now his franchise, and he successfully does so with confidence as a visually strong and introspective storyteller. Yet while Creed III isn’t a knock-out, it does win on a points decision.