“Creed” is formulaic.

That’s not necessarily a bad thing. “Creed” is solid film-making.

The boxing movie formula is evident in, among others, “Million Dollar Baby,” 2004; “Raging Bull,” 1980; “Requiem For A Heavyweight,” 1962; “Somebody Up There Likes Me,” 1956; “The Champ,” 1931, and “Rocky,” 1976, which brought Sylvester Stallone to fame and fortune in a screenplay he wrote and hung onto until he could star in the title role as Rocky Balboa.

The bright spots in “Rocky” (nominated for 10 Academy Awards, receiving picture, director and editing Oscars) include the bonding between the young boxer and his trainer Mickey (Burgess Meredith), the rigorous training process (punching slabs of beef in a meat locker), the love story between Rocky and Adrian (Talia Shire) and iconic images (running up the steps of the Philadelphia Museum Of Art, turning and raising his arms and fists to the sky).

There followed four “Rocky” sequels (1978, 1982, 1985, 1990), plus “Rocky Balboa” (2006), all starring Stallone. Some were, frankly, rocky in storyline and tone. Prior to seeing “Creed,” one might think: Why not leave well enough alone? Do we really need another “Rocky” movie?

Well, yes. “Creed” succeeds on many levels. Sure, it’s your typical boxing movie. Then again, what would a boxing movie be if not predictable? Predicability, with a bit of a twist, is what makes genre movies, whether westerns, crime-thrillers, suspense, science fiction or romantic-comedies, work. “Creed” has that twist.

In one of the best scenes in “Creed,” Rocky Balboa visits the cemetery where his beloved Adrian is buried, alongside her brother, Paulie (Burt Young). Rocky pulls a folding chair from the crook of a tree, unfolds the chair, sits down, converses with the dear departed and reads to them from the daily newspaper. You notice he didn’t get out a smart phone or tablet. “Creed” is nothing if not old-school.

Rocky mentors Adonis Johnson (Michael B. Jordan), going by that name because he doesn’t want to fight in his father’s shadow, that of Rocky’s former rival, heavyweight champion, Apollo Creed (Carl Weathers), who died in the ring.

This time, the love story, instead of between Rocky and Adrian, is between Adonis Creed and Bianca (Tessa Thompson), an aspiring singer-songwriter.

The training scenes, the interplay between Creed and Rocky, their ups and downs, as well as scenes between Creed and his girlfriend are handled quite well. “Creed” culminates in the big fight, again true to the boxing movie formula. We won’t play spoiler here by revealing the outcome.

Suffice it to say that the subtext of making amends, redemption, dedication to one’s craft, overcoming obstacles and character-building is strong in “Creed.”

“Creed” is directed skillfully, senstively and powerfully by Ryan Coogler (Cannes Film Festival award recipient for “Fruitvale Station,” 2013) from a screenplay he co-wrote with Aaron Covington (in his feature screenplay debut) from a story he wrote based on characters created by Sylvester Stallone.

“Creed” is comfortable in its familarity: the Philadelphia setting and its many local references, including cheesesteaks, club and concert venues Johnny Brenda’s and the Electric Factory, the Front Street Gym, Victor Cafe (Adrian’s in the movie), plus footage and views of the narrow streets of South Philly, the Calder statue of Wiliam Penn atop City Hall and the big steps of the Philadelphia Art Museum made famous in the original film (we also won’t spoil the way this scene is handled in “Creed,” but it’s a beauty.).

Look for a possible Oscar supporting actor nomination for Stallone, who let’s humility wash across his face and quips emanate from his pouty lips with the ease of a pro, actor, that is.

Michael B. Jordan (Johnny Storm, “Fantastic Four,” 2015; “Fruitvale Station,” TV’s “Parenthood,” 2010-11) is believable as the young Creed. Tessa Thompson as his girlfriend is an engaging presence. Phylicia Rashad is memorable as Creed’s stepmom.

While enjoying a boxing match is perhaps politically-incorrect, and boxing movies aren’t for everyone, the statue of Easton’s own Larry Holmes brings to mind that the pugilstic arts have long been, and probably long will be, regarded with awe.

Professional boxing may have been eclipsed by mixed martial arts, cage matches and professional wrestling. However, there remains a place in the hearts of sports fans, as well as movie fans, for the man in the lonely ring. As Paul Simon and Art Garfunkel sang in “The Boxer” (1969): “But the fighter still remains.”

Or as Rocky Balboa puts it in “Creed”: “One step at a time. One punch at a time. One round at a time.”

“Creed” and the Rocky legend is all about the indomitable spirit of man.

“Creed,” MPAA Rated PG-13 (Parents Strongly Cautioned. Some Material May Be Inappropriate For Children Under 13.) for violence, language and some sensuality; Genre: Drama, Sport; Run time: 2 hrs. 13 mins. Distributed by Warner Bros.

Credit Readers Anonymous: “Gonna Fly Now (The Rocky Theme),” heard toward the conclusion of “Creed,” was written by Bill Conti, Carol Connors and Ayn Robbins.

Box Office: Weekend box office results were unavailable because of the early Christmas Day holiday deadline for the Focus section.

Unreel, Dec. 25:

“Joy,” PG-13: David O. Russell directs Jennifer Lawrence, Bradley Cooper, Robert De Niro and Elisabeth Röhm in a comedy-drama about a woman who becomes a successful businesswoman.

“Daddy’s Home,” PG-13: Sean Anders directs Linda Cardellini, Mark Wahlberg, Will Ferrell and Alessandra Ambrosio in the comedy about a stepdad and a freeloading biological father.

“The Revenant,” R: Alejandro González Iñárritu directs Tom Hardy, Leonardo DiCaprio, Domhnall Gleeson and Will Poulter in a western that takes place during the 1820s about a frontiersman out for revenge after being left for dead.

“Concussion,” PG-13: Peter Landesman directs Will Smith, Gugu Mbatha-Raw, Alec Baldwin and Luke Wilson in a drama set in Pittsburgh about a pathologist who uncovers brain damage in football players who suffer repeated concussions during games.

“The Hateful Eight,” R: Quentin Tarantino directs Channing Tatum, Samuel L. Jackson, Jennifer Jason Leigh and Kurt Russell in a Western about post-Civil War era Wyoming bounty hunters caught in a blizzard.

“Point Break,” No MPAA rating: Ericson Core directs Teresa Palmer, Luke Bracey, Édgar Ramírez and Ray Winstone in the action film remake of the 1991 hit about extreme sports athletes suspected of corporate heists.

“45 Years,” R: Andrew Haigh directs Charlotte Rampling, Tom Courtenay, Geraldine James and Dolly Wells in the romantic drama about a surprise letter received on a couple’s 45th wedding anniversary.

Three Popcorn Boxes out of Five Popcorn Boxes