Rocky V (1990)

Of the sequels, this one comes closest to the endearing qualities of the first Rocky by resurrecting the lovable, shambling underdog with more human connections and dialogue. It has charm despite frequent absurdities and made the critic smile.

The film returns Rocky to his South Philadelphia roots and original director for a sloppy but good-natured reminder of what made the character work. It cannily asks audiences to forget the rich blowhard and resume acquaintance with the ordinary Joe.

The critic sees Rocky V as a fitting if somewhat grim close to the series, returning to the character's roots after financial ruin and brain damage from prior fights. The opening scene of Rocky in distress stands out as promising more depth than the rest delivers.

The critic finds it sadly devoid of emotional clout with a going-through-the-motions feel, but notes the only real spark comes from Sage Stallone as Rocky's son.

Stallone sinks to a new low with clichés and a thudding lack of storytelling subtlety, including a championship-wrestling-inspired ending. The central problem of Rocky’s brain damage is undercut by the predictable plot turns and strained family/mentoring dynamics.

The critic defends the film against its poor reputation and Stallone's own criticism, arguing it is a satisfying and important chapter that returns Rocky to his roots and emphasizes family and personal connections over fame and glory. It singles out the thematic focus on character strength and how the story sets up later franchise entries for stronger emotional resonance.

The critic finds it a welcome change of pace from the previous two entries with its focus on human drama and return to roots, but notes contrived plot devices and an unsatisfying sense overall that prevent it from living up to its potential. It earns praise for nods to the first film, Stallone's dialogue and performance, and Talia Shire's work, while concluding it betters recent sequels by emphasizing heart over muscles yet fails to deliver a satisfying farewell.