Criticism of ‘Black Adam’: The most comical Dwayne Johnson

With the same recurring ease with which Teth Adam, Black Adam for DC comics gobblers, Dwayne Johnson for those who discover him on the big screen, throws his arch-enemies off his back at the other end of the widescreen format, ‘ Black Adam’, the umpteenth effort of the DC cinematographic universe, he prefers to get away from script decisions (and from the umpteenth planning of a world of interconnected films) and from assuming his own style, continuous or different, with a kick to follow, such a spectacular action sequence like a thousand times seen. It is true that it is not only a problem of the titles under the DC label: Marvel is also going through a stage of confusion and not knowing where to throw, settling, like Black Adam, to throw as far as possible and in the right way. doubts more ostentatious. However, with its obvious script rewrites and characters that are added for future appearances that you never know if they will happen, ‘Black Adam’ contains much more cinema (and not precisely and only superheroes) than previous DC proposals, ignoring the Kaffir oasis of James Gunn and his ‘The Suicide Squad’, which he looks at on occasion (the debate on the morality of the vigilante with superpowers, the notes on an openly fascist superheroic underground state, a humor that barely appears at the end of the film…) with envy.

As in almost all of the work of our Jaume Collet-Serra, ‘Black Adam’ It is the drama (or the tragedy, the more urban the better) of an irascible guy who is burdened with a great responsibility that he does not want and fights to get rid of it and to punish those who have burdened him with it, punishing himself along the way. same. The character played (lived rather: his implication is noticeable) by Dwayne Johnson is not far from the usual Liam Neeson of the moral and Hitchcockian thrillers of the author of ‘One Night to Survive’, It may be the title that comes closest to this adventure of supervillains fighting to be superheroes. After a prologue that serves Collet-Serra as a tribute to the fantasy that she likes so much and with which she flirted in ‘Jungle Cruise’ (and that it is a nod from Johnson to his years of The Rock in similar peplums like ‘The Scorpion King’), ‘Black Adam’ wakes up in bad streets and in an even worse global society of political crimes and of a parafascist global state as well. The entire film, his flirtations with the Justice Society, his anger and his uniform blind belief that the world is black and white, is built around this very interesting premise. However, the servitude (normal: they are selling us one of superheroes) towards the clichés, in this case DC, violently push these ideas to a corner and free themselves from the great CGI show (better than the latest Marvel ) and the megalomaniacs on duty determined to destroy the world like some Hollywood executives and entertainment movies. Jaume Collet-Serra does not feel uncomfortable in this field and even dares to validate the visual excess of Zack Snyder stripping it of superfluous theology and poor digestion of Nietzsche’s philosophy. Surely, beyond the simplicity of the new characters (not as much as in ‘The Justice League’) or the fleeting cameos that do not arouse much emotion, the great value/incentive of ‘Black Adam’ is that of being able to have been a lost plot (or failed) in the ‘Watchmen’ of Snyder.

For antiheroes of superheroes in crisis

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DATA SHEET

Address: Jaume Collet-Serra Distribution: Dwayne Johnson, Sarah Shahi, Pierce Brosnan, Viola Davis, Aldis Hodge Country: USA Year: 2022 Release date: 21–10-2022 Gender: Action Script: Adam Sztykiel, Rory Haines, Sohrab Noshirvani Duration: 124 minutes

Synopsis: Nearly 5,000 years after being endowed with the omnipotent powers of the ancient gods—and imprisoned just as quickly—Black Adam is released from his earthly tomb, ready to unleash his unique brand of justice on the modern world.