Black Adam will perhaps save the world of cinecomics

Black Adam will perhaps save the world of cinecomics

The Rock had announced it, he has been saying it all these months: Black Adam can be the cinecomic that will change the cinematic universe of DC. Because? But because he is there of course: in fact the King Midas of today's cinema, the most profitable star in the world, box office security, an unprecedented money machine and media exposure, a symbol of America. And Black Adam, directed by Spaniard Jaume Collet-Serra, who had already collaborated with The Rock for Jungle Cruise, on balance more than a film, is an entertainment product structured in the image and likeness of the former wrestler, to allow him to create a minimum of variation with respect to the theme of the indestructible hero that he has always played in recent years. The end result is that of a cinecomic who tries but does not always manage to be so different from the norm, which works but does not make the leap in quality. A bit like The Rock has always been.

A warrior from the distant past

In the ancient Egyptian kingdom of Kahndaq, five thousand years ago, the people had been enslaved by the will of the King, who wanted to build the Crown of Sabbac, artifact that allowed to obtain demonic powers of incredible power. The terror was broken away by the mighty Teth-Adam (The Rock), who had been given the powers of several Egyptian gods by the sorcerer Shazam, with whom Adam brought down the King, only to disappear into thin air for thousands of years. In today's world, Kahndaq is militarily occupied by the mercenaries of the intergang criminal association, who dominate it with violence and terror. small Resistance group, with the aim of finding the crown of Sabbac before the intergang.

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Forced to awaken Teth-Adam to be able to save himself, Isis and the others will see him wandering around like a destructive fury, something very different from the hero of the myth remembered by tradition.

The members of the Justice Society also think the same thing, an organization of superheroes born with the aim of protecting international stability, and which includes Hawkman (Aldis Hodge), the powerful Doctor Fate (Pierce Brosnan ) and the young but willing Atom (Noah Centineo) and Cyclone (Quintessa Swindell), coordinated by the cynical Amanda Waller (Viola Davis).

It will be the beginning of an unpredictable clash between the various parts in the game, in which the revived super-warrior of Kahndaq will have to decide what he wants to be in today's world and above all what to do with his incredible powers .

Talking about Black Adam, good or bad, means dealing with a cinecomic that is both familiar and unprecedented, incredibly spectacular as well as sometimes inconstant for what concerns the purpose and above all the pace, due to a screenplay written by Adam Sztykiel, Rory Haines and Sohrab Noshirvani, called to a task that is anything but simple.

It is not an everyday thing in fact having to create a narrative process that fits perfectly for a star as centralizing as The Rock, who knows how to enhance a fascinating character like Black Adam. At the same time, it is clear that there was the purpose of distinguishing oneself within a genre that now seems to have tired the public enough.

Between quotationism and semi-parody

Black Adam will rightly seem to many a sort of hybrid between what Zack Snyder has always conceived for the superhero story and the colorful, smashing and self-deprecating variation by James Waan and his Aquaman. The film immediately embraces the search for originality with respect to the offer on the market, even with a much more deliberate and clear use of violence than the Marvel standards but which is certainly something that we would need to see on the big screen more often. After a forcibly accelerated start regarding the origins of this dark antihero, the whole veers towards a pleasantly more nuanced atmosphere, sometimes very dark and grim, but also capable of deconstructing in a very nice way the very concept of the granite and invincible superhero of the comics.

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There are at least 4-5 absolutely guessed, funny sequences, with homages to Sergio Leone's westerns, Ang Lee's Hulk, the Incredibles and much more, contributing to make the whole absolutely enjoyable, precisely because The Rock himself likes to make this seven-slayer with the grim frown a little gigione and comical. As long as the film continues on this line it works which is a marvel, also because it does not exceed in a farcical dimension like the Thor of Waititi to be clear, indeed there is over and over again the attempt to insert political themes within a plot that it moves away from a Manichean view of the world. The problem, the real problem, is that The Rock, in the end, likes to take itself too seriously, to create a purely muscular and rhetorical story, patriotic as well.

Yes, because as you go along, everything becomes more predictable and predictable, even reassuring, as well as connected to a denial of darkness and also a certain basic cynicism on use of the strength and responsibility of the hero, which made the film really interesting.

It will be said that it is the price to pay that each product of this type must face in order to please the general public (the American one in particular), but certainly a little more audacity in the writing phase would certainly not have hurt the whole. From this point of view, especially towards the ending, regrets increase for what Black Adam could have been in different hands, there is also a certain tiredness, almost a scarcity of ideas about the epilogue to choose.

A perfect film for the general public

Black Adam thrives above all on the contrast between Hodge's Hawkman and this abusive guy wrapped in black. In fact, they are two sides of the same coin, they are much more similar than they might think, with the first being the image of the limited conception of the world that America has often tried to propose: good versus bad.

Freedom for Hawkman is above all the freedom to impose on others his own idea, his own point of view, an almost fascist vision that as one progresses he is forced to abandon above all by virtue of a physical inferiority towards Black Adam. A punishment that The Rock still manages several times to make an interesting mix of strength but also of insecurity.

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Pierce Brosnan with his usual charm manages to make his Doctor Fate more than a symbol of arrogant wisdom, that of an ultimate search for truth about reality, including empathy, which perhaps he would have deserved more space within the film. The same goes for the villain of an effective Marwan Kenzari, an incredibly underrated actor, sacrificed above all to introduce the Amon of the young Bodhi Sabongui, unfortunately quite irritating and inconsistent. Too bad that at a certain point, almost suddenly you have less and less fun, the narrative turns turn out to be badly conceived and also connected with little lucidity, the protagonist then loses a lot of his genuine darkness, without deepening the concept of power in the right way, of loss and guilt.

However, if we consider what wickedness cinema has offered us in recent times about superheroes, from Thor to Morbius, from Black Widow to Venom, we cannot do not give anything more than mere sufficiency to this film, which is aesthetically very pleasing, has interesting action scenes and a couple of goodies in the post credit of those we have been waiting for for years. Now it remains to understand what response the public will give, if above all it will be possible to harmonize the different souls of the DC universe, something that should have happened years ago if Warner had not lost opportunities and time for nothing. And against these kinds of mistakes, even Black Adam's powers may be of little use.

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