The film revolves around a middle school music teacher trying to get back to his body after falling down a manhole where he ventures into a world where he meets a young soul that isn’t eager to go to Earth where he shows this young soul what it means to live. It’s a film with a unique premise as it plays into this man who is given the chance of a lifetime to play for a prestigious jazz band in New York City as it’s something he always dreamed of yet the excitement of passing the audition has him falling down this manhole. The film’s screenplay by Pete Docter, Kemp Powers, and Mike Jones do play into this long-held desire that Joe Gardner (Jamie Foxx) has in wanting to be a jazz pianist ever since he was a teenager but chooses to be a middle school teacher in order to pay the bills as he is reluctant to go full-time. A former student who is playing drums for the respected and revered jazz musician Dorothea Williams (Angela Bassett) would get Gardner to audition for her as he passes and then falls into a manhole.
That’s only the first few minutes of the film as the script plays more into the exploration of what it means to live as well as what defines a soul where Joe is supposed to go into the Great Beyond where those who have passed are meant to go but Joe refuses as he finds himself in the Great Before. The Great Before is a place where unborn souls are there to find personalities and everything else that would define them before they enter Earth as Joe is mistaken for an instructor who is given the task to mentor an unwilling soul named 22 (Tina Fey). 22 is a character who had been given many mentors including Abraham Lincoln, Muhammad Ali, Mother Teresa, and many others but none have been able to get through to her about what it means to live as Joe shows her some of the simple ideas including music as they’re aided by a strange mystic known as Moonwind (Graham Norton) to help her out as well as take her to the place of lost souls whom he rescues.
The direction of Pete Docter, with additional contributions by Kemp Powers who is credited as a co-director, does create these massive set pieces in a world that is based on reality that is New York City but also this strange reality that is the Great Beyond, the Great Before, and other worlds where lost souls are recovered. With the help of animation directors Jaime Landes Roe, Gini Cruz Santos, and Royce Wesley, the world that Joe encounters are presented in different styles as the look of New York City as well as some of the places Joe go to each have their own sense of style that has an air of realism but also some beauty thanks to the contributions of the film’s cinematographers Matt Aspbury and Ian Megibben who help create unique lighting schemes in the way rooms are lit in the day and night with production designer Steve Pilcher, along with art directors Paul Abadilla and Tim Evatt, and visual effects supervisor Michael Fong in the creation of the Great Before with its vibrant colors and the world of lost souls that is dark and colorless. The scenes in the Great Before feature characters in these counselors who are called Jerry as they’re presented in this traditional hand-drawn animation style that is unique but also has these offbeat personalities that adds to some of the surreal elements that Joe and 22 encounter.
Docter and Powers also create the subplot as it relates to an accountant named Terry (Rachel House) who always count on those who die and are set to the Great Beyond as she notices that the count is off as it relates to Joe not going to the Great Beyond. The film’s second act is about Joe showing 22 the ideas of living where 22 would experience things that add to the joys of life through simple pleasures and encounters. Docter and Powers provide these moments that definitely echo some of ideas of pure cinema as well as surrealism in its third act as it relates to 22’s journey in trying to find her spark that would allow her to go to Earth and live. Yet, it forces Joe to have some revelations about his own life and his own pursuits of being a jazz musician as he has to help 22 to not only find her own purpose in life but also in just living for the moment and enjoy it. Overall, Docter and Powers create a rich and rapturous film about a music school teacher trying to show a young soul the pleasures and meaning of life.
Editor Kevin Nolting does brilliant work with the editing as it play into some of the humor as well as some of the drama as there is a rhythm to the cutting in its presentation of the music but also in some of the surreal elements of the film. Sound editor Coya Elliott and sound designer Ren Klyce do amazing work in the sound in some of the sound effects that are created as well as the natural sounds of certain locations and how certain objects sound in the things 22 encounters. The film’s jazz music soundtrack by Jon Batiste is incredible in the way it plays into Joe’s life and sense of improvisation in how life works while the electronic music score by Trent Reznor and Atticus Ross for scenes in the Great Beyond and the Great Before is probably the major highlight of the film with its mixture of ambient, throbbing electronics, and discordant industrial textures that adds to the mystical and suspenseful elements of those worlds while its music soundtrack also include pieces from Daveed Diggs, Cody ChestnuTT, Bob Dylan, a cover of the Impressions’ It’s All Right performed by Batiste, and jazz pieces from Walter Norris, Duke Pearson, Duke Ellington, and Dave Brubeck.
The casting by Natalie Lyon and Kevin Reher is superb as it feature voice appearances and cameos from Pixar regular John Ratzenberger as a subway passenger, Sakina Jeffrey as a doctor, Laura Mooney as a therapy cat owner, Cora Champommier as one of Joe’s students who gets lost in playing the trombone, Margo Hall and Rhodessa Jones as a couple of Joe’s mother’s co-workers, June Squibb as a soul that Joe meets who is about to enter the Great Beyond, Cody ChestnuTT as a subway performer, Daveed Diggs as a frenemy of Joe’s in Paul, Wes Studi, Fortune Feimester, and Zenobia Shroff as soul counselors named Jerry, and Donnell Rawlings as Joe’s barber Dez who has some unique views about life and what he could’ve done but is content with what he’s doing. Angela Bassett is fantastic as the revered jazz musician Dorothea Williams as a saxophonist/band leader who is hoping that Joe gives her what she wants while Questlove is excellent as Joe’s former student Curly who plays drums for Williams and gets Joe the chance to audition for her. Phylicia Rashad is brilliant as Joe’s mother Libba as a seamstress who wants Joe to accept the full-time teaching job and not go after his dream of being a musician knowing what his father had tried to do for years.
Alice Braga and Richard Ayoade are amazing as two soul counselors in the Great Before both called Jerry as Braga is more informative and witty while Ayoade is the funnier one. Rachel House is incredible as the soul counter Terry as an accountant who makes sure the count is precise on those who go to the Great Beyond as she becomes intent on finding Joe. Graham Norton is marvelous as Moonwind who works as a human being sign twirler by day yet is a soul who captures lost souls in the lost world and gets them back as Norton provides a comical and offbeat approach to his character who sails on a ship to the music of Bob Dylan. Tina Fey is phenomenal as 22 as a cynical soul who isn’t eager to go to Earth as she likes to mess with other souls though she reluctantly let Joe mentor her where she realizes that there are things she might want to experience. Finally, there’s Jamie Foxx in a sensational performance as Joe Gardner as a middle-school music teacher who dreams of being a jazz musician and play in a jazz band as he deals with being in a mystical world and to try and guide a young soul about the pleasures of life as he begins to question about aspects of his own life in this endearing voice performance.
Soul is an outstanding film from Pete Docter and Kemp Powers. Featuring a great ensemble voice cast, gorgeous visuals, engaging themes of existential and what makes life worth living, and an exhilarating music score from Jon Batiste, Trent Reznor, and Atticus Ross. It’s a film that isn’t just engaging and full of wit but it’s also a film that allows its audience to understand the ideas of life and what it means to live and enjoy it without trying to be heavy-handed nor be overly-intellectual. In the end, Soul is a magnificent film from Pete Docter and Kemp Powers.
Pixar Films: Toy Story - A Bug's Life - Toy Story 2 - (Monsters Inc.) – (Finding Nemo) – The Incredibles - Cars - Ratatouille - WALL-E - Up - Toy Story 3 - Cars 2 - Brave - Monsters University - Inside Out - The Good Dinosaur - (Finding Dory) – (Cars 3) – Coco - The Incredibles 2 - Toy Story 4 - (Onward) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)
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Directed by Ryan Coogler and screenplay by Coogler and Aaron Covington from a story by Coogler that is based on characters created by Sylvester Stallone, Creed is the story of a young man who is the illegitimate son of Apollo Creed who wants to follow in his father’s footsteps as he seeks the help from his father’s greatest opponent in Rocky Balboa. The film is a spin-off of sorts of the Rocky series that has Balboa return to the world of boxing but as a mentor to the son of his greatest opponent while he is fighting his own personal battles as Stallone reprises his role as Balboa with Michael B. Jordan as Adonis Creed. Also starring Tessa Thompson, Wood Harris, Tony Bellew, Graham McTavish, and Phylicia Rashad. Creed is a thrilling and evocative film from Ryan Coogler.
The film follows a young man named Adonis Johnson who learns at a young age that he’s the illegitimate son of Apollo Creed from Creed’s widow Mary Anne (Phylicia Rashad) who adopts him hoping he would get the chance of a life without any complications. Yet, Adonis yearns to fight like the father he never knew as he travels from Los Angeles to Philadelphia to meet the man who was considered his father’s greatest opponent in Rocky Balboa who had disconnected himself from the world of boxing as he’s reluctant to return to that world. The film’s screenplay by Ryan Coogler and Aaron Covington definitely provide some insight into who Apollo Creed was before he fought Balboa as well as the fact that he was a flawed man who cheated on his wife just before he died. Yet, it is more about this young man in Adonis who is trying to make his own mark without using his father’s namesake as he wants to do it on his own despite the fact that he’s given a great education, a stable job, and a home that many struggling boxers would want.
Unfortunately, Adonis still has a chip of his shoulder of not feeling wanted nor feeling like he has an identity as he turns to Balboa for help who has his own reasons for not wanting to train him. Still, Balboa sees the passion in Adonis and the hunger to fight as he would train and mentor him while Adonis finds his footing in Philadelphia where he embarks on a relationship with a young R&B singer named Bianca (Tessa Thompson) where they both live in the same building. The script doesn’t just play into Adonis coming into his own as a boxer and a person but also Balboa struggling with the past as well as the fact that he’s becoming sick forcing him to confront his own mortality having already lost so many people in his life. The film’s climax does involve a big fight where Adonis not only has to accept his namesake but also fight a top fighter who is about to go into forced retirement due to an impending prison sentence.
Coogler’s direction is stylish in terms of not just some of the compositions but also in the way he would create scenes in the film. Shot mainly in Philadelphia with some of it in Los Angeles as well as the film’s climax in Liverpool, the film does have a somewhat worldly feel yet it is grounded in the streets as it play into Adonis’ need to connect with the real world as he is first seen as a child fighting with another boy at juvenile center where he would meet Mary Anne Creed for the first time. Much of the direction is intimate as Coogler would use a lot of medium shots and close-ups to play into Adonis’ encounter with people including scenes with Bianca as they’re both individuals fighting to reach a certain dream as well as having similar struggles as Bianca wears hearing aids in her ear due to some disease. That sense of grounding in Coogler’s direction gives the film an air of authenticity that often lacks in boxing films while using Philadelphia as this epicenter of an array of diverse cultures.
While there are some wide shots in some scenes, Coogler’s approach to directing the few fights in the film are stylish as the first major professional fight for Adonis against a top contender from Philadelphia is shot entirely in one-take for two rounds with a long tracking shot with Steadicam cameras to capture the fight. It’s among a few moments in the film where Coogler would create something that feels technical but also add a realism to what goes on inside the ring. The direction does have a few visual references to the Rocky films yet it remains all about Adonis and what he has to fight for in the film’s climax where he goes up against the light heavyweight world champ in “Pretty” Ricky Conlan (Tony Bellew) as it carries a lot of weight into what is at stake. Overall, Coogler crafts an enthralling and rapturous film about a young man trying to make his own mark in the world with the help of the man who gave his father one of his great fights.
Cinematographer Maryse Alberti does brilliant work with the film’s cinematography with its emphasis on natural lighting for many of the scenes set in the daytime along with some stylish lights for some of the interior scenes set at night. Editor Michael P. Shawver and Claudia Castello does excellent work with the stylish cuts as it has elements of jump-cut and slow-motion cuts to play into the drama as well as the training montages and the fights. Production designer Hannah Beachler, with art directors Danny Brown and Jesse Rosenthal plus set decorator Amanda Carroll, does fantastic work with the look of the house that Mary Anne lives in as well as the apartment that Adonis lives in at Philadelphia as well as the gyms that he goes to with Balboa. Costume designers Antoinette Messam and Emma Potter do terrific work with the costumes as it is mostly casual to play into the look of winter-time Philadelphia as well as the look of the boxing trunks Adonis and other fighters would wear.
Visual effects supervisors Alison O’Brien and Dean Wright do nice work with the film’s minimal visual effects as it is mainly used for the film’s climax for the size of the crowd in some shots of the film. Sound editor Benjamin A. Burtt does amazing work with the sound in the way some of the punches are presented as well as the sound of the crowds in the fights and the way music is heard at the apartment Adonis is living in. The film’s music by Ludwig Goransson is superb for its mixture of orchestral bombast with elements of R&B grooves, hip-hop beats, and electronic textures to play into the local atmosphere of Philadelphia while including elements of Bill Conti’s score music from the Rocky films while music supervisor Gabe Hilfer creates a fun soundtrack that consists of blues, R&B, and hi-hop from acts such as Harold Melvin & the Blue Notes, 2Pac, the Roots with John Legend, Meek Mill, and several others from the Philadelphia hip-hop and R&B music scene.
The casting by Kathy Driscoll and Francine Maisler is incredible as it feature some notable appearances and small roles from the famed cut man Jason “Stich” Duran as Adonis’ cut man, Andre Ward and Gabriel Rosado as a couple of light heavyweight fighters Adonis encounters with, Alex Henderson as the young Adonis, Ritchie Coster as one of Rocky’s old opponents in Pete Sporino who is now a trainer whose son is a fighter training at Rocky’s old gym, and Wood Harris as Tony “Duke” Evers’ son Tony Jr. who runs a gym in L.A. that isn’t keen on training Adonis as he’s training another fighter that was supposed to fight Conlan. Tony Bellew is terrific as the light heavyweight champion “Pretty” Ricky Conlan as a top boxer who likes to talk trash as well as be trouble as he would become Adonis’ top opponent hoping to beat him.
Graham McTavish is superb as Conlan’s manager/trainer Tommy Holiday as a man who is trying to take care of Conlan’s business as well as be the one to set the fight against Adonis. Phylicia Rashad is fantastic as Mary Anne Creed as Apollo’s widow and Adonis’ stepmother who is not keen on having Adonis follow in his father’s footsteps as well as wanting to protect him from being beaten as she has to accept the fact that he is his father’s son. Tessa Thompson is excellent as Bianca as an R&B singer-songwriter trying to make it as she befriends Adonis and becomes his girlfriend while trying to understand his struggle towards his father’s legacy and other issues in his life.
Sylvester Stallone is phenomenal as Rocky Balboa as the former boxing legend who has retired as he reluctantly becomes Adonis’ trainer and mentor while dealing with his own mortality as Stallone provides some charm and wit but also a humility and grace of a man facing his life and the guilt over the loss of one of his greatest friends. Finally, there’s Michael B. Jordan in a sensational performance as Adonis Johnson-Creed as the illegitimate son of Apollo Creed who is trying to define his own legacy as he struggles with his identity as it’s a performance with some humility and charisma but also a grounding as a young man coping with the legacy of the man he never knew.
Creed is a tremendous film from Ryan Coogler that features great performances from Michael B. Jordan and Sylvester Stallone. Along with its incredible ensemble cast, top-notch direction, gritty visuals, and a hypnotic soundtrack, it’s a film that isn’t just a worthy entry into the Rocky series but also a boxing film that explores a young man trying to find himself in and out of the ring. In the end, Creed is a spectacular film from Ryan Coogler.
Ryan Coogler Films: Fruitvale Station - Black Panther (2018 film) - Black Panther: Wakanda Forever - Sinners (2025 film) - The Auteurs #74: Ryan Coogler
Rocky Films: Rocky - (Rocky II) – (Rocky III) – (Rocky IV) – (Rocky V) – (Rocky Balboa) – (Creed II) - (Creed III)
© thevoid99 2017
Directed by Jake Szymanski and teleplay by Murray Miller from a story by Miller and Andy Samberg, Tour de Pharmacy is the story of the infamous 1982 Tour de France in which five of its top contenders did whatever it took to win while raising awareness of steroid use. Told in a documentary style, the film chronicles the notorious event as well as the people who were involved in that race as it is narrated by Jon Hamm. Starring Andy Samberg, Orlando Bloom, Freddie Highmore, John Cena, Daveed Diggs, Jeff Goldblum, Julia Ormond, Dolph Lundgren, Danny Glover, James Marsden, Will Forte, Maya Rudolph, Kevin Bacon, Phylicia Rashad, J.J. Abrams, Adewale Akinnuoye-Agbaje, Mike Tyson, Joe Buck, Chris Webber, and Lance Armstrong. Tour de Pharmacy is a wild and outrageous film from Jake Szymanski.
In the 1982 Tour de France, one of the most notorious cycling races occurred as many of the riders participating in the event were all taking some kind of drugs in which five of them were able to continue as this documentary on these five racers are profiled in this film as four of them talk about the race. The film is a mockumentary about a fictional moment in racing as it’s told in a documentary style similar to what HBO sports does as well as ESPN’s 30 for 30 series. The film follow the events in the 1982 Tour de France in which many of its participants paid the then-UCI president Ditmer Klerken (Kevin Bacon) $50,000 in exchange to not be tested as Klerken would use the money to pay off his massive credit card debts. Among those that didn’t pay Klerken were the five riders who would be able to continue the race till the end as the ones who did pay Klerken were all disqualified.
Among these five participants who would continue the race are the American cyclist Slim Robinson (Daveed Robinson/Danny Glover), the Nigerian cyclist Marty Haas (Andy Samberg/Jeff Goldblum), the Austrian cyclist Gustav Ditters (John Cena/Dolph Lundgren), the French cyclist Adrian Baton (Freddie Highmore/Julia Ormond), and the Italian cyclist JuJu Peppi (Orlando Bloom). Four of them would talk about the event that happened many years ago as Baton was really a woman disguised as a man so she can participate in the Tour de France as she was also on some drugs. Murray Miller’s script doesn’t just go into this back-and-forth narrative of the riders talking about the event but also the event itself as it also features commentary from an anti-doping agency head in Stu Ruckman (Nathan Fielder) as well as filmmaker J.J. Abrams and boxing legend Mike Tyson. The latter of which reveals his own original aspirations to be a cyclist until someone stole his bike and he beat the shit out of the guy.
Jake Szymanski’s direction definitely owe a lot to not just the documentary style of most documentary sport films but also has elements of French New Wave to play into France’s own coverage of the sport but also 1980s television. Notably as Szymanski uses some grainy video footage of the race which was covered by the BBC and its reporter Rex Honeycutt (James Marsden) as many of the compositions in the film are straightforward. The present-day scenes with the older bikers and some of the people interviewed including an anonymous racer (Lance Armstrong) as that interview is played for laughs in trying to conceal the identity of this racer. The film also play into some of the outrageous moments as it’s narrated by Jon Hamm that include a few animated sequences including one story about red blood cells that is created by a controversial animator in Victoria Young (Phylicia Rashad). Szymanski’s direction becomes more outrageous as the story goes on whether it’s Ditters on roid-rage or Peppi having to urinate while riding. It all plays into craziness of what goes on in the Tour de France. Overall, Szymanski creates an over-the-top yet exhilarating film about one of the most notorious races in the history of Tour de France.
Cinematographer Craig Kief does excellent work with the film’s cinematography from the clear and stylish look of the present-day interviews to the grainy VHS look of the race itself. Editors Michael Giambra, Daniel Reitzenstein, and Bijan Shams do amazing work with the editing with its usage of jump-cuts for the French coverage as well as some of the more straightforward elements in the interviews. Production designer Almira Corey, with set decorator Izzy Ross and art director Jen Dunlap, does fantastic work with the look of the set for the interviews as well as a massage room for the five riders to be in. Costume designer Romy Itzigsohn does some nice work with the look of the spandex costumes of the riders as well as the clothes they wear when they’re older.
The hair/makeup work of Annie Cardea, K.T. Chandler, Megan Nicholl, and Adina Sullivan do brilliant work with the look of the characters from the fake-drawn mustache of the young Baton to the crazy hairstyles of some of the characters including Peppi’s blond goatee. Visual effects supervisor Daniel Barone does terrific work with some of the visual effects in some of the photos as well as the look of the VHS footage. Sound designer Ken Cain does superb work with the sound in the way some of the fighting is presented as well as the VHS tapes. The film’s music by Gregory James Jenkins is wonderful as it play into the period of cheesy music that often accompany sporting events during the 1980s.
The casting by Susie Farris is great as it feature appearances from Joe Buck, Mike Tyson, filmmaker J.J. Abrams, and basketball legend Chris Webber as themselves talking about the event while Lance Armstrong is hilarious as the anonymous racer who talks about all of the things that happened at Tour de France that involves doping. Other notable small roles include Phylicia Rashad as the controversial animator Victoria Young, Maya Rudolph as a cycling magazine editor who lusts for cyclists, Will Forte as a French policeman who accidentally injects himself with amphetamines, and Kevin Bacon in a terrific performance as the former UCI president Ditmer Klerken who would waste all of his money on things that would amass into a big credit card debt. Nathan Fielder is fantastic as an anti-doping agency head who reveal what effects the drugs would do while Adewale Akinnuoye-Agbaje is superb as Hass’ childhood neighbor who really hates Hass. James Marsden is excellent as the BBC reporter Rex Honeycutt as the man covering the event as well as doing what he can to interview the cyclists during the race.
Daveed Diggs and Danny Glover are brilliant in their respective roles as the younger and older version of Slim Robinson as the nephew of Jackie Robinson who was eager to become the first black cyclist to compete at Tour de France with Diggs being quite brash while Glover is more reserved yet both are very funny. Dolph Lundgren and John Cena are amazing in their respective roles as the younger and older version of Gustav Ditters with Lundgren as a more calm yet enjoyable approach as the older Ditters yet it is Cena who is a fucking riot as the overly-excited and roid-rage version of Ditters who would also use a mysterious substance. Freddie Highmore and Julia Ormond are marvelous in their respective roles as the younger/older version of Adrian Baton with Highmore as a young woman pretending to be a man with a drawn mustache and fake boobs while Ormond is just very straightforward as Adrianna Baton though where she’s interviewed is very surprising.
Andy Samberg/Jeff Goldblum are remarkable in their respective roles as the younger and older version of Marty Hass with Samberg as this very outrageous young version who is trying to prove that he’s a true African when he’s really hated by actual Africans while Goldblum is just funny in how laid-back he is. Finally, there’s Orlando Bloom in a hilarious performance as Juju Peppi as the Italian cyclist who is considered the best as he is willing to do whatever he can to win as Bloom just play him for laughs and delivers in every way.
Tour de Pharmacy is a phenomenal film from Jake Szymanski. Not only is it a hilarious mockumentary short about the world of doping in cycling but also play into the things that are just shocking but in a very funny way. In the end, Tour de Pharmacy is a sensational from Jake Szymanski.
Related: 7 Days in Hell
© thevoid99 2017
