Rocky is such a truly iconic film that it’s easy to forget its very existence is a miracle. I Play Rocky is the story of how that miracle was built by the blood, sweat, and tears of an unknown actor and aspiring screenwriter named Sylvester Stallone.
Peter Gamble’s screenplay begins with the future Hollywood star going by Mike Stallone (Anthony Ippolito), hitting auditions with his brawny shoulders and distinctive accent, and getting cast as thug #2 if he’s lucky. At this point, he’s living on the streets, finding comfort in a stray puppy he’s taken in, and doing some light sex work to keep them both fed. But all he needs to start the path to Rocky is one person to believe in him.
Enter Sasha Czack (AnnaSophia Robb), a smart and dedicated young woman who pushes Mike not only to write the roles he wants to play but to make a mark with his real name, Sylvester Stallone. Together, they move from the cold streets of New York to the sunny hills of Los Angeles. He writes out script after script by hand, then she types them up so he can hopefully sell them. When Rocky finally catches the attention of respected producers, it might seem like a happy ending. But there’s one catch that Sly lays down: “I play Rocky.”
Stallone, as an unknown, fought tooth and nail to be the center of the movie he dreamed up to make him a star. But at every step, a new challenge presented itself. His underdog story reflects Rocky‘s — sometimes literally recreating scenes from the Oscar–winning sensation. But as successfully entertaining and heart-warming as I Play Rocky is, will it be able to stand out to the Academy in this year of extraordinary cinema?
What’s I Play Rocky got in its corner?
Credit: Amazon MGM Studios
Well, for starters, director Peter Farrelly previously won over the Academy with Green Book, which scored Best Supporting Actor for Mahershala Ali, Best Original Screenplay (for Farrelly and his co-writers), and Best Picture. That too was a feel-good film inspired by true events. And to its credit, I Play Rocky is less likely to earn the backlash that Green Book did, as it doesn’t engage in problematic racial stereotypes.
What I Play Rocky does offer is a cast that absolutely crackles onscreen. Ippolito takes on a difficult role as Stallone, because even a casual movie fan can recognize this A-lister’s signature cadence and tone. To his credit, Ippolito is terrific in the role. Not only does his take on Stallone feel familiar, but he also avoids the trap of making it feel like an impression. This becomes clearer when he’s tasked with re-enacting classic Rocky scenes, where the physicality of Stallone demands to be even more in sync with the man himself.
Beyond getting the feel of Stallone right, Ippolito has an easy charisma that sparks chemistry with every scene partner, be it his onscreen lover Robb, a pair of bickering producers (P. J. Byrne, Toby Kebbell), his dynamic Rocky co-star Carl Weathers (Stephan James), or his lumbering dog, Butkus. Ippolito’s Sly is radiant with life and determination, a screen presence that Stallone brought to Rocky.
And around him, he’s bolstered by terrific supporting players. Byrne and Kebbell prove a terrific comedy duo, turning exposition about movie deals into entertainment. Robb shines, despite being in a role that is an achingly cliched Supportive Wife with no complexity. (As presented here, Sasha has no desires beyond what makes Sly happy.) James is electric, an unapologetic scene-stealer who becomes Sly’s ally. Tracy Letts is solidly sneering as an antagonistic studio exec, and Jay Duplass is brightly funny as self-proclaimed asshole director John G. Avildsen.
Together, they craft a fish-out-of-water showbiz comedy slash underdog drama that is undeniably rousing and wonderful. So, why won’t that be enough for I Play Rocky to be a contender?
I Play Rocky will be an underdog at the Oscars.
Credit: Amazon MGM Studios
On the ground at the Toronto International Film Festival, when I Play Rocky made its World Premiere, the buzz was thunderous and immediate. Following its first screening, the press lined up in a massive theater for the press-and-marketing-screening to see for themselves if this movie could live up to the hype. For those who’ve never been, that’s a tough crowd, almost daring filmmakers to impress them. And adding to the difficulty, this screening was at 8:30 AM on a Sunday, when most sane people would prefer to be in bed. I was in that audience, and frankly dubious I’d enjoy Farrelly’s latest, as I tend to think his best film is Dumb & Dumber. (I said what I said.) To my surprise and delight, I roared with laughter and cheers, as did the hundreds around me. Speculation sparked that this movie would win the festival’s audience award, hands down. And the People’s Choice Award out of TIFF can often be a bellwether for Oscar success. According to Awards Radar, since 2000, 33 People’s Choice winners have gone on to become Best Picture nominees at the Academy Awards, with nine of them winning — including Green Book. But despite the buzz, I Play Rocky didn’t win this honor.
The People’s Choice Award went to La Bola Negra, a Spanish drama by directors Javier Calvo and Javier Ambrossi that explores queer identity over 85 years in Spain. That film, while extraordinary, is not a crowd-pleaser. It’s 159 minutes long, interweaves multiple narratives, and is inspired by four pages of a play written by poet Federico García Lorca before he was assassinated by a fascist government. It’s tragic, romantic, and cerebral. And it has all that in common with the International People’s Choice winner, Elsinore, which focuses on Scottish actor Ian Charleson’s performance of Hamlet as he was dying of AIDS.
Where I Play Rocky had brilliant buzz on its debut, it was a runner-up at the end of the festival. And as award season heats up, there’s a trend emerging, favoring tragedies over feel-good stories. Another example: TIFF opened with the inspiring docudrama Being Heumann, helmed by Sian Heder, director of the Best Picture winner CODA. While this follow-up has been praised for its representation of people with disabilities in telling the story of disability advocate Judith Heumann, the praise for the movie itself has been muted.
Meanwhile, Calvo and Ambrossi are gathering buzz for the Best Director honor, and Andrew Scott seems a frontrunner for his heart-wrenching performance in Elsinore. And then of course, there’s the big wooden horse in the room: The Odyssey.
Being both an unadulterated hit with critics and a box office smash that not only brought audiences back to theaters, but also sold out IMAX theaters across the country, Christopher Nolan’s The Odyssey is going to be hard to beat this Oscar season. He brought together a sprawling cast, shot on location, and used practical effects to extraordinary ends to reimagine Homer’s Greek epic for a modern, mainstream audience. It is a collision of poetry, craftsmanship, and performance that is absolutely astounding. The Odyssey showed succinctly why movies still matter, connecting a story that’s centuries old to contemporary politics without feeling like it was talking down to its audience.
There, I Play Rocky falls short. While it is a movie about the importance of cinema, which the Academy loves, it’s a look back that feels more a celebration of Stallone than it does a story urgent to now. And in the final act, Farrelly gets carried away in recreating Rocky, pulling in one scene after another to diminishing returns. While his film is still a sensational experience, its final act leans too heavily into the audience’s presumed love of Rocky, instead of trusting in their interest of the story being told. And hey, in another year, that might not have been a fatal flaw; it might not even be one that will keep I Play Rocky from some big nominations. But even though I’d argue I Play Rocky is a better movie than Green Book, I wouldn’t bet Farrelly’s film has a fighting chance against its TIFF peers, much less Nolan’s epic.
I Play Rocky was reviewed out of the Toronto International Film Festival. It opens in limited release on Nov. 6, before going nationwide on Nov. 20.
