What I’m watching: ‘Black Adam’ bores, ‘Stars at Noon’ entrancesDate: 11/1/2022 New to theaters: “Black Adam”
“Black Adam” delivers an endless onslaught of lavishly expensive action set pieces featuring some of DC Comics’ most treasured characters. For DC, the film marks the first chapter of a new universe for their expansive library of cape-donning heroes.
It’s also not very good.
The long-awaited collaboration between DC and movie star Dwayne Johnson lumbers into theaters as a cluttered mess. Filled to the brim with fiery explosions and chaotic set pieces, “Black Adam” certainly remains busy, but the film never provides a reason for viewers to care about the latest superhero making his big-screen debut.
While DC has trailed in popularity compared to the Marvel Cinematic Universe, they often compensated by producing more creatively vibrant films. Say what you want about their duds, like 2017’s “Justice League” and that abysmal “Green Lantern” film that everyone has already forgotten. When the puzzle pieces align, DC creates bold, risk-taking projects that stretch the standard definition of superhero films. This year’s “The Batman” delivered an atmospheric noir that enriches aesthetics ripped from a bygone cinematic era, while adaptations of “The Watchman” and “V for Vendetta” explored the intersection of politics and pop culture long before Amazon’s “The Boys” came around.
DC’s usual panache for auteur-driven projects is part of what makes “Black Adam” such a downer. There is not an artistic bone in the film’s body. Instead, the film feels like a ball of clay molded strictly from the interest of marketing executives looking to cash in on the long-running superhero craze.
The screenplay attempts a balancing act that it never quite pulls off. “Black Adam” is framed as the introductory chapter to its titular anti-hero and the Justice Society of America – a team of earnest figures that includes Hawkman, Atom Smasher, Dr. Fate and Cyclone. Unfortunately, the movie’s ambition far exceeds its grasp, presenting far too many characters that ultimately receive little in terms of depth or personality. Everything here feels truncated and rushed, almost acting like a movie trailer for what the final product could’ve been. There are also vague thematic undertones about the Justice Society serving as a callous, nationalistic military entity, although the film is too ill-equipped to say anything of note with that concept.
As for Dwayne Johnson, the movie star delivers one of the worst performances of his career. I’ve always felt Johnson’s brand of movie star projects got a bad rap from critics, with films like “Rampage,” “Central Intelligence” and “Skyscraper” showcasing the type of blockbuster fluff that the marketplace needs.
Here, Johnson forgoes his usual charisma in favor of his overly brooding delivery as Black Adam. The movie star acts like an angsty teenager, sulking through every line in his try-hard attempt to create a compelling anti-hero. Neither Johnson nor the film ever attempt to reckon with the character as a potentially nefarious figure in a thoughtful manner. At least Pierce Bronson and rising star Aldis Hodge deliver some fun as Dr. Fate and Hawkman, respectively.
In place of engaging material, “Black Adam” throws action scene after action scene at viewers. Director Jaume Collet-Serra enjoyed success in the past with his fun stylistic fusions featured in a slew of Liam Neeson-led actioners. With “Black Adam,” the director gets lost in a cacophony of blistering noises and messy visuals. The crowded set pieces eventually become a nuisance as the audience is assaulted with an overbearing sense of deja vu by each CGI-filled moment.
I’ve seen worse superhero films than “Black Adam,” but I’m having a hard time thinking of other super-powered efforts that felt so voiceless and apathetic. Hopefully, DC and Johnson can remedy some of these issues with a potential sequel.
New to theaters and streaming: “Stars at Noon”
After losing her journalism credentials, Trish spends her days idly roaming the streets of a Nicaragua community beset by poverty and government corruption. She then meets Daniel, an elusive English businessman, and the duo forms an emotionally-charged relationship. The chance encounter embroils Trish in a complex web of conspiracy and malpractice in auteur Claire Denis’ latest project, “Stars at Noon.”
Fans of Denis’ work, such as “Beau Travail” and 2019’s “High Life,” already know the director isn’t one to bend to conformist sensibilities. In the vein of old-school noirs, “Stars at Noon” sees Denis and her creative team crafting a mood piece of two star-crossed lovers ensnared in a political and social vortex far beyond their reach. The results, while admittedly divisive, allured me from jump street.
Equally evocative and sumptuous, “Stars at Noon” transfixes through its undeniable ambiance. Denis deploys lingering tracking shots and expressively intimate framing choices as eloquent tools for placing viewers alongside Trish in her wayward journey. Few films define such an encompassing sense of place, with the deplorable conditions and vacant street corners reflecting a Nicaragua countryside beset by division.
I also applaud Denis for being one of the filmmakers to infuse the coronavirus zeitgeist with genuine consideration. The lingering sense of isolation and abandonment work brilliantly to accent the film as the narrative quietly evolves into a compelling tale of subterfuge. “Stars at Noon” doesn’t need bullets or buckets of bloodshed to compel viewers with its intriguing espionage elements.
Denis and her screenwriting team prove to be equally adept. She and co-screenwriter Andrew Litvack adapt Denis Johnson’s 1980s-set novel with a keen eye in their modern recontextualization. Where several literature-to-film transitions feel far too dense and busy onscreen, this adaptation trims itself to the bare necessities. The lack of exposition-ladened dialogue exchanges and overly obvious metaphors allow viewers to ingest the film’s worldview with impressive ease. These choices reflect pointed depictions of colonialism and corporatization in a way that never feels heavy-handed.
The stars of “Stars at Noon” are also enthralling. “Once Upon a Time in Hollywood” breakout Margaret Qualley offers one of the year’s best performances to date as Trish. The actress exhibits an undeniable magnetism in her embodiment of Trish’s vivacious personality and deeply seated vulnerabilities. Co-star Joe Alwyn makes for an effective romantic lead as the enigmatic Daniel, while supporting players John C. Reilly and Benny Safdie elevate their infrequent roles. Qualley and Alwyn form a remarkably lived-in bond through their blend of wordless and expressive exchanges, defining an untraditional love story between two people who remain elusive to one another.
During my short time writing this column, I’ve been asked a recurring question – “Matt, do you actually like movies?” I can seem like a downer when I am panning so many of the latest theatrical releases, but in reality, a good portion of mainstream Hollywood titles struggle to articulate their intent without significant handholding. Tired plotting tropes, witless visual techniques and an overwhelming lack of authorship make some films feel like they’re lifeless products printed out by cynical Hollywood studio heads.
Thankfully, “Stars at Noon” is the exact antithesis of these qualities – it understands that art is far more about evoking atmosphere and emotions than delivering cheap thrills. The film certainly won’t be for everyone with its glacier pacing and lack of definitive conclusions, but fans of 20th-century noirs will feel right at home here. Denis and her creative team craft a richly textured and mesmerizing effort that is sure to find a loyal niche audience. I look forward to recommending more overlooked films like this as Oscar season begins to heat up.
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