Similar to Dwayne Johnson’s career, the tale of importing a superhero from your culture’s history to protect the present-day situation of your city begins on an intriguing note but quickly becomes tedious and ends up being uninteresting. The story by Adam Sztykiel, Rory Haines, and Sohrab Noshirvani has all the essential elements that a superhero movie should have, yet it isn’t even finished with mind-numbing VFX to at least get your attention.
When Pierce Brosnan’s character Fate uses his mental abilities to spread a web, the effects appear great, but they aren’t utilised effectively to build any type of compelling suspense. While Lawrence Sher’s camerawork occasionally saves the ship from sinking, it cannot be relied upon to keep it afloat until the very end. Everything goes under at once.
Dwayne Johnson is living proof that a decent superhero can exist without being physically fit. He just wasn’t able to maintain the trifecta of broody, perplexed, and funny.
As Fate, Pierce Brosnan makes the most inconspicuous effort to level the general unstructured chaos. The issue is that neither his nor the supporting cast’s performances have much to be remembered for. With Noah Centineo’s Atom Smasher, DC doesn’t try to show off anything new; he performs everything the Hulk has mastered over the years.
Hawkman, played by Aldis Hodge, tries to lead the JSA (Justice Society of America), but he utterly fails to do so because of his weak character design. You don’t even begin to understand Sarah Shahi’s perspective as she experiences anguish, which is what motivates her to rebel against the Intergang. Her act is as half-baked as everything else relating to her is touch-and-go. Quintessa Swindell’s portrayal of Cyclone is just as inconspicuous as Dwayne Johnson’s career prior to the jungle film series.
The story has been told countless times, so Jaume Collet-Serra chooses the conventional approach to directing it. He is faced with the issue that every post-Avengers director encounters when creating a superhero movie.
The music of Lorne Balfe falls flat since not a single set piece that it creates sticks with you long after you leave the theatre. Although it is a pleasant surprise, the music from The Good, The Bad, and The Ugly is not Balfe’s original work.
All things considered, Dwayne Johnson’s Black Adam is at least ten years too late to have any kind of impact on the audience.
