DC is back at it again with an underwhelming sequel filled with empty character arcs, plain villains, lackluster writing and of course predictable plot sequences.
Shazam! Fury of the Gods opens with the return of goddesses, Hespera (Helen Mirren) and Calypso (Lucy Liu), in search of the mystical staff responsible for stealing their powers. Instantly from their ferocious opening battle, these two (wielding the powers of chaos and elements) are indeed shown that they are forces to be reckoned with.
Viewers quickly transition to the mundane reality of Billy Batson, (played by Asher Angel and Zachary Levi) as he navigates life as a secret super hero along with his foster siblings. Each sibling has their own lives and interests,such as finding a girlfriend and going to college, which Batson feels may tear them apart. After the first 10 minutes of re-introduction to the world, viewers are left behind in 2019, and the inevitable unraveling begins.
Not only are the action sequences accompanied with lazy banter desperately trying to engage with a social media-ridden audience, but they also fall exceedingly flat for the premise. The supposed “fury” of these Gods is more like a slight annoyance of the sisters that clearly aren’t on the same page.
From the introduction, the three goddesses all have separate objectives, making their eventual insurrection a snooze. In addition, each of their unique destructive powers: elements, chaos and axis are sadly underutilized.
While the special effects show potential for promising battle scenes, they are undermined by a consistent reliance on the magical staff and a considerably tame wooden dragon the writers obviously just couldn’t wait to unleash. Not to mention the ease in which the champions are taken down. Although this wasn’t too surprising due to age and experience, there could have been a simple redemption arc allowing these “so-called” champions to rise to the challenge.
The movie is filled with back and forth scenes between bickering sister Gods and utterly clueless Shazam champions trying to piece together a plan.
Throughout the film, the audience is simply hoping that the great fighting climax is worth a two hour game of hot potato as the heroes and villains repeatedly steal the mystical staff from one another.
From start to finish, one may be sitting in their seat trying desperately not to check the time, praying for the credits to roll. However, against your will, you must endure endless mediocrity even during the grand showdown in all aspects — except the special effects and camera work.
VFX supervisor Bruce Jones, along with cinematographer Gyula Pados, work together beautifully to make a visually appealing spectacle which serves, but doesn’t save the film. The largest surprise comes from a fun cameo, but is battered with eye-rolling satire.
The concept of blatant foreshadowing is definitely leaned on causing the audience to just barely raise an eyebrow when the specific elements are touched on later in the film. Everything about the storylines were forced and tiringly foreseeable. For instance, the main character’s deep attachment to his family, yet his inability to call his foster parent, “mom.”
While it is understood this stretches back to the protagonist’s maternal abandonment in the first movie, the execution of the subject matter is thrown in sloppily, leaving no room for conjecture. Such as a baby’s first words — it’s not about if they’ll speak, it’s more about when they’re going to finally utter those coveted syllables. (Except it’s far less heartwarming and everyone shares a groan of relief once it finally happens.)
Characterization shown in the fight scenes does not impress as each of the characters are given very basic arcs. The main protagonist proves time and time again that he isn’t fit for powers or leadership. It’s almost as if writers, Henry Gayden and Chris Morgan, were unsure of where to take his character and threw him a bout of obstacles involving age, hidden identity and familial ties. They hoped there would be enough content for development… however, there wasn’t.
At certain points as each issue is resolved, you’re wondering how much could the other characters have benefited if this entire arc was just cut altogether. The writing seemed disproportionate as young Billy Batson seems to have a clear head on his shoulders while the superhero version is quite literally stumbling through his words.
The rest of the siblings are given a stereotype or singular struggle and are touched on slightly in between major events. Eugene, played by Ian Chen and Ross Butler, are the analytical genius kids who explore and uncover important information about their powers and lair. Pedro (Jovan Armand and D.J. Cotrona) feigns interest in sports while clearly more interested in the men. Darla (Faith Herman and Megan Good) is the young naive little sister still obsessed with skittles. Lastly, there is Mary(Grace Carolyn Currey) who is the reeling eldest sister itching for the freedom of adulthood.
A major discrepancy in the film could have been avoided if the audience wasn’t forced to overlook the fact that no one has identified Mary as one of the caped crusaders. In spite of her being the only one of the group to not change appearances.
There is quite literally no development amongst these characters. Aside from Pedro bravely coming out to his family, each of these arcs are banal at best.
The most complicated storyline is handed to Freddy (Jack Dylan Grazer) and The Wizard (Djimoun Hounsou) who carry most of the movie more than the main protagonist in plot, humor and development.
Freddy struggles through his everyday existence as a young teen constantly picked on because of his need for a cane. He embraces his new found possibilities, unlike his siblings. Freddy ventures off exploring the bounds of his magically infused other half (Adam Brody).
Most of his ad-libs and cheeky pop culture references allow the audience to overlook the lack of originality, encapsulating the other characters. Despite his involvement in a less than convincing “B”story, he maintains his status as the most emotionally and intellectually adept protagonist.
Overall, the kids turned superheroes trope is a playful element that definitely makes this movie perfect for a night out with the family. Granted, that family should consist of considerably younger children who won’t care about the dull, mind numbing storytelling.
Unfortunately, there will be no reprieve for the adults.
