It is interesting to watch how the Rocky series has evolved in parallel with Sylvester Stallone’s career, which by 1985 had him safely perched on top of the Hollywood ladder. But it also showed a shift in artistic expression from the Oscar-winning Stallone. Gone is the grit and drama of the first Rocky movies, this time replaced by larger-than-life 80s excess. Rocky IV is big and loud and even at times ridiculous – but it is also incredibly entertaining!
In this fourth installment of the Rocky franchise, “The Italian Stallion” Rocky Balboa (played by Sylvester Stallone) is on a career high and his personal life has never been better. When the Soviet Union enters the world of professional boxing through amateur champion Ivan Drago (played by Dolph Lundgren) they draw the ire of former champion Apollo Creed (played by Carl Weathers) who challenges Drago to an exhibition bout. The brutal power of Drago, however, proves to be too much for Creed who dies in the ring. Swearing revenge, Rocky challenges Drago to a fight to be held in Russia, giving up his world title and placing his life on the line.
Rocky IV is essentially a revenge movie that also highlights the fear of Soviet communism felt throughout the Reagan era, which Stallone uses to his advantage. Rocky IV is also much more of a fight film than an emotional journey of a simple man standing up against impossible odds. This does not stop Stallone from giving his token character an impossible mountain to climb, and what better than a machine of destruction: a rigid, towering figure of Soviet aggression played well by Dolph Lundgren, who despite his limited acting ability and minimal yet memorable dialogue pulls off the role thanks to his impressive figure and cold demeanor.
There are elements that make Rocky IV feel oddly distant from the other films in the series. The most obvious is the absence of composer Bill Conti’s inspirational, moving score that is replaced by Vincent DiCola’s industrial/synthesized compositions, not to mention several pop/rock anthems heard during the film's excessive yet highly entertaining montages.
The biggest draw in Rocky IV is the marathon final fight scene that – although pushing the boundaries of reality – is an excellently choreographed, edited and performed sequence; an adrenaline-pumping, hard-hitting, gloriously over-the-top slugfest that Stallone directs the hell out of.
There are only two ways someone could react to Rocky IV: you can either see it as moronic entertainment, or you can revel in its macho-isms and pump your fist in the air. Subscribe to the latter, and an enjoyable time will be had.