ollowing the blueprint laid out in the first sequel, this third film repeats the closing moments of the prior entry as a recap. Of course, it’s a lot less effective than it was before, since now it’s awfully repetitious. Nevertheless, it establishes exactly what it’s supposed to: Rocky Balboa (Sylvester Stallone) is now the heavyweight champion of the world, having defeated Apollo Creed (Carl Weathers) in another unlikely 15-round fight.

Instead of exploring the aftermath, this one allows time to pass, showing a montage of additional matches, now that Rocky has a title to defend. And with the fame and money comes Adrian’s (Talia Shire) full support – which will be needed as another competitor, Clubber Lang (a rambunctious, over-the-top Mr. T), rises through the ranks to ensure a tough showdown, concerning Rocky’s longtime trainer Mickey (Burgess Meredith). As the details of Rocky’s continued success and Clubber’s extreme knockouts unfold in flashes of action in the ring, the song “Eye of the Tiger” makes quite the impression.

Strangely, this follow-up, once again written and directed by Stallone, has apparently given up on the subplot worrying about Rocky going blind from getting hit too many times in his eye. Within the first few minutes, he continues his reign at the top, pummeling ten additional top combatants over the course of several years. Instead, the latest conflict involves rough-around-the-edges brother-in-law Paulie (Burt Young) wasting his life, getting drunk and ending up in jail, angry at Rocky that he hasn’t given him a place to stay and a cushy job. After all, the prize-winning pugilist now resides in a sprawling mansion with oodles of cash to his name. This predicament is solved quickly and comically, however, demonstrating its considerable insincerity. And it’s followed by a goofy charity duel against Thunderlips (Hulk Hogan), who is described as literally twice Rocky’s weight.

Unlike in the previous film, “Rocky III” leaps right into the ring; the titular role is no longer trying to avoid the dangers of boxing, but is wholeheartedly embracing them. Skipping over familial dramas, this second sequel also dispenses with supporting characters adding complications; Stallone knows that audiences are largely only interested in the fights themselves, so he wastes little time dragging out the runtime. It’s all about preparing for matches and participating in them. And Rocky is no longer the underdog; he has funding and resources. It’s Lang who takes his training seriously, coping with the solitude of unknown gyms and zero assistants working in his corner (though he’s clearly a villainous persona).

Since the characters and their personal lives aren’t of much interest anymore (the Balboas’ kid is barely present), this picture can focus on not just one climactic showdown but two, as Rocky prematurely accepts Lang’s challenge, refusing to take it as seriously as Mickey. But it doesn’t change much; the characters aren’t really the stars – it’s the protracted duels that take center stage. If fans want to see shirtless, brawny brutes beat each other to a pulp – as Bill Conti’s momentous music presides over the splattered blood and sweat – this chapter in the ongoing saga will surely sate their macho bloodlust. And since Rocky’s vision isn’t an issue, he can continue to soak up jab after jab to his eyes with nothing but a desire to get back into the ring for another shot and for cinematic vengeance (even Adrian is now his biggest cheerleader, coaxing him into never stopping until total redemption).

It’s a black-and-white sort of premise (fight after fight, good versus evil), but it’s amusing that the filmmakers can continue to use the existing actors in new ways, this time having Creed serve as a trainer and ally (he is, essentially, the best written character in the series, knowingly assuming the roles of showman/promoter, antagonist, and winner at all the right moments). And Rocky now has to contend with an age (34) that many pundits suggest is far too old to remain a champion or to wage a comeback. The repetition, however, is significant; with very few options to switch up outcomes, “Rocky III” is simply practicing, sparring, and duking it out over and over until the story expectedly ends with the star conquering his fears of deceit and failure – but not before sponging up an excessive amount of headshots in an admittedly exciting face-off. “There is no tomorrow!”

– Mike Massie