Black Adam Review

Black Adam, directed by Jaume Collet-Serra, arrives with the weight of high expectations, serving as both a passion project for Dwayne Johnson and a fresh attempt to rejuvenate the DC Extended Universe (DCEU). While it delivers some electrifying moments and a standout performance from its lead, the film struggles under the weight of its formulaic structure and over-reliance on CGI-heavy spectacle.

The story follows Teth-Adam, an ancient champion resurrected in modern-day Khandaq after 4,600 years of imprisonment. Adam emerges as a force of destruction and vengeance, clashing with the Justice Society of America (JSA), a team of second-tier heroes tasked with stopping his perceived threat. Meanwhile, the hunt for a demonic crown propels the narrative into a messy showdown involving a forgettable CGI villain. Despite the grandeur of its premise, the film often feels overstuffed and underdeveloped.

Johnson’s portrayal of Black Adam is undoubtedly the highlight. Known for his charm and larger-than-life persona, Johnson sheds his usual affable energy to channel a brooding, vengeance-driven anti-hero. His intensity anchors the film, particularly in its early moments when Adam’s destructive power and moral ambiguity are on full display. However, the script softens his edges too quickly, rushing his transformation from anti-hero to reluctant savior, which undermines the character’s complexity.

The supporting cast offers mixed results. Pierce Brosnan’s Dr. Fate brings gravitas and a melancholic wisdom to the ensemble, often overshadowing his teammates. Aldis Hodge’s Hawkman is suitably commanding, but the character’s moral rigidity feels one-dimensional. Noah Centineo and Quintessa Swindell, as Atom Smasher and Cyclone, add a touch of humor and warmth but are given little to do beyond filling team quotas. The interactions within the JSA are serviceable but lack the depth and cohesion needed to make them truly memorable.

Visually, Black Adam embraces a bombastic style that will likely thrill action fans. The set pieces are colorful and energetic, showcasing Collet-Serra’s flair for dynamic staging. However, the film leans excessively on slow-motion effects and CGI, which often drags down the pacing and dilutes the impact of the action. The climactic battle, in particular, feels more like an exhausting display of digital mayhem than a satisfying narrative resolution.

Thematically, Black Adam attempts to explore moral gray areas, posing questions about the cost of power and the ethics of intervention. The film’s setting in Khandaq, a fictional Middle Eastern nation suffering under occupation, introduces a timely layer of anti-imperialist commentary. Unfortunately, these ideas are only superficially explored, overshadowed by the film’s focus on spectacle and humor.

Despite its flaws, Black Adam has moments of promise. Johnson’s commitment to the role and the film’s bold willingness to embrace darker tones set it apart from some of its DCEU predecessors. However, the reliance on well-worn superhero tropes and a lacklustre villain prevent it from achieving the groundbreaking potential it strives for.

In the end, Black Adam is an entertaining but uneven entry in the DCEU, one that sparks moments of excitement but fails to fully ignite. For fans of Johnson and big-screen superhero antics, it delivers enough thrills to be worth a watch, but it falls short of leaving a lasting impression.