The line between video-game graphics and movie CGI is almost erased in “Black Adam” (HBO Max). It was ostensibly filmed in New Zealand, but I imagine the actors standing on a huge soundstage with four green walls, a green floor and a green ceiling. The opening action spectacle, wherein Teth Adam (Dwayne “The Rock” Johnson) emerges from his 5-millennia entombment to take on grave robbers in the desert, is like if the battles of “Rambo III” were CGI instead of live-action.
It’s clear when the real Rock is throwing a punch and when a CGI Adam is; after all, he floats and flies like Superman, with whom he shares the trait of being bulletproof. Later, the extreme difference between Marwan Kenzari as human Ishmael versus the actor transformed into a devil-demon is distracting. It’s an old complaint to say “too much CGI,” and it’s not always true – the new “Avatar” film is spectacular by all accounts – but it’s an obvious problem in “Black Adam.”
However, director Jaume Collet-Serra (“Orphan,” “The Shallows”) crafts good entertainment despite this consistent flaw. The film is paced well, it balances humor and high stakes, and it held my attention. Granted, part of my attention was devoted to keeping track of everyone’s goals and allegiances.
“Black Adam” (2022)
Director: Jaume Collet-Serra
Writers: Adam Sztykiel, Rory Haines, Sohrab Noshirvani
Stars: Dwayne Johnson, Aldis Hodge, Pierce Brosnan
You guys are on the same side!
An unfortunately large chunk of the film is devoted to good guys (the Justice Society) fighting another good guy (Black Adam). The Society’s goal is to imprison Adam because he has “murdered” (even though it’s in self-defense and his enemies are evil).
The hypocrisy doesn’t go unaddressed by screenwriters Adam Sztykiel, Rory Haines and Sohrab Noshirvani as they tell the origin story of a comic-book antihero who dates back to 1945(!). But it takes long enough for them to get there that I was practically yelling at Hawkman (Aldis Hodge) in a C-3PO voice to “Trust him! Trust him!”
Adam is the Bizarro version of Shazam, his good-spirited contemporary – but only in his bad attitude, not in being a bad guy. Adam shows no interest in ruling his people in Kahndaq. Granted, he doesn’t care all that much about liberating them, either. But the Justice Society harasses him simply because he has superpowers, and it gets to be a bit much.
On the plus side, a viewer is totally on Adam’s side as he continually annoys Hawkman by killing people (again, always evil people, and always as part of the battle) and also struggles to learn superhero principles such as catchphrases (“Tell ’em the Man in Black sent you!”) from teenage Amon (Bodhi Sabongui).
Hypocritical heroes
Digging deeper into the weeds of the Justice Society’s hypocrisy, they work for Amanda Waller (Viola Davis), the corrupt bureaucrat who keeps failing upward. And while this isn’t explicitly shown on screen, you gotta assume the Society accidentally kills Kahndaqans amid their destructive pursuit of Adam, which includes the collapse of a huge statue.
“Black Adam” is not totally blind to the Justice Society’s hypocrisy, but the film doesn’t engage with the theme. Compare it to “Batman v Superman: Dawn of Justice’s” exploration of the damage caused by Superman while fighting Zod in “Man of Steel.” The DCEU has backslid in its adherence to treating collateral damage seriously.
The Rock tones it down
Although The Rock is the big draw for this 11th DCEU film, it’s not your typical The Rock movie. He tones down his schtick to embody the comic-book character, and that’s the proper choice.
For the sake of conversation, let me raise the issue of cross-racial casting. Black Adam is the DCEU’s Middle Eastern superhero. (The real-world stand-in for Kahndaq, a country that has suffered under a string of corrupt governments, is perhaps Egypt). But The Rock is Samoan.
I haven’t heard much backlash about the film not casting a Middle Eastern actor. Perhaps it’s considered OK to have a minority actor playing a minority superhero, even if he’s not from the same minority group? It seems the PC crowd is a little inconsistent, but no complaints here about The Rock’s casting.
Indeed, “Black Adam” most comes alive in the few moments when it’s just actors on screen (well, the backgrounds might be CGI, but the actors are doing their thing unembellished). Sarah Shahi is a Lara Croft type, and Mohammed Amer plays her brother (the wacky uncle of her son Amon).
Amid the Justice Society, Pierce Brosnan has gravity as Dr. Fate. Noah Centineo (as Atom Smasher – not Adam Smasher, notably) and Quintessa Swindell (as Cyclone) are colorful as superheroes just learning their craft, although their interactions could’ve included more flirty cuteness.
Ultimately a little silly
When you combine 1) a storyline wherein many fights could’ve been avoided via a friendly chat with 2) a slathering of computer-designed sequences with 3) The Rock acting fairly serious, you have a rather goofy blend.
It’s not quite a mess. Collet-Serra grasps pacing and tone, and composer Lorne Balfe maintains forward movement without making us jittery. But the film always has a veneer of silliness – too often in a bad way. (For a superior brand of silliness, see James Gunn’s “The Suicide Squad” and “Peacemaker.”)
It’s certainly passable enough for one viewing, and it’s a fun way to learn about the character’s lore without tracking down dusty old comics. But “Black Adam” is middle-of-the-road among the DCEU.