A Review of Shazam: Fury of the Gods by Nick Olszyk
Distribution Service: Theatrical
MPAA Rating, PG-13
CNS Rating, Not Rated at the Time of this Review
Reel Rating, Two and ½ Reels
Shazam
was Big with superheroes. Teenager Billy Batson (Asher Angel) became the
grownup Superman knock-off Shazam (Zachary Levi) and many hilarious misunderstandings
ensued. This sequel puts the humor slightly aside to expand on the Greek
inspired mythology. This decision is a perfect illustration that an silly but
otherwise enjoyable movie can be bogged down by taking itself too seriously.
Some movies are better when they just have fun.
Since the
last film, Billy and his foster family of superheroes have been saving people left
and right all over Philadelphia; yet their propensity for collateral damage has
earned them the nickname “fantastic fiasco.” Privately, Billy, now just a few
months from eighteen, feels unprepared for the adult world. Things are made
more complicated with the arrival Sanderson sister knock-offs
the Daughters of Atlas, who have broken out of an interdimensional prison to
steal the McGuffin Golden Apple and reclaim their reign on this world.
The only thing stopping them is our hapless heroes – if they can avoid high
school bullies and raging hormones.
The Shazam
universe succeeds as teenage superheroes who entertain a teenage audience. The
women are attractive but approachable. The men are goofy and immature. Yet
everyone has a good heart and wants to do right. Unfortunately, Fury of the
Gods attempts to create an elaborate lore to go along with this silliness,
including lessons on the Greek pantheon, a giant library with an
anthropomorphic quill pen, and inexplicably resurrecting a dead character from
the first film. In the vein of critically acclaimed superhero films like Logan
and Blank Panther, it tries to inject profound themes such as family
dynamics, reparations, white guilt, and LGBT acceptance while still making fart
jokes.
Not every
film can be Citizen Kane. Not every film should be Citizen Kane. Movies
can be profound, but they must be entertaining. In a sense, Fury of the Gods
understands this. The mid credits scene is an extended joke on its B tier
status. Yet, unlike the original, it never accepts its place, and is worse for
it. Muppet Treasure Island is one of the best adaptations of all time
because it allowed Kermit and his friends to just be themselves while capturing
the boyish adventure of the Stevenson’s novel. Shazam is Superman’s crazy nephew,
and that’s okay.
Yet, there
are glimmers of greatness. The central villain rides a green glowing dragon
that breathes out literal fear, manifested as Godzilla-like plasma. There is also
a fun subplot involving Shazam’s attempt to ask Wonder Woman out on a date. Given
her generosity and their common Greek background, it’s not a completely
unreasonable request. Its moments like these that brough me back to my days
playing with action figures on the playground.
The
Daughters of Atlas may have had a wrong perpetrated against them, but like
Killmonger in Black Panther or Vulture in Spider-Man: Homecoming,
evil can never right a previous evil. Rather it is self-sacrificial love, like
Shazam’s final act in this movie, that ultimately dispels the darkness. If
superhero movies seem to mirror Christological imagery so commonly, it is
because they tap into our “heart’s deepest longing.” There’s no need to be
current. Just let the hero win the day, and that is enough.
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