The texture of a movie like “Shazam” is to find the balance of tone that creates an interesting diametric and dynamic. Overall in actuality, the movie is a mixed bag with enough energy and might to make it entertaining but with not enough originality to make it transformative. There is a no awesome “ah-ha” moment and, in many points, it devolves into simple fanboy structure without a necessity for logic. Now granted when these are functioning as montages with 80s songs, it can connect. But in comparison to say “Guardians Of The Galaxy”, there is no heart. The intention at the focus of the story about family should feel more connected and meaningingful. The director and star Zachary Levi are certainly trying but you almost see too much of their effort on screen which means it wasn’t inherently natural. Levi is very earnest…maybe too much so though he does convey the awkwardness of Billy Batson very well. The construct of the conflict itself is basic…and perhaps it needs to be but that doesn’t change the fact that it feels at many points unfulfilling.
The actual introduction to the movie which introduces another character has much more breathe of thought but that too is wasted in that character’s development. Mark Strong’s role as an adversary comes off as hollow. It could have been a deep seated regret and texture of family that really would have given the film more texture. Many aspects in this regard seem unfinished. “Shazam” is not a bad film…it just seems very incomplete. And again the aspect of heart and tone within DC, even the standalone films which worked to a good degree in “Wonder Woman” and “Aquaman” doesn’t connect here. Sometimes, the film goes very dark in places without that balance…and, as a result, feels empty. Even the final sequences which should reflect a culmination seems almost haphazard. But as a takeback, it is great to see a superhero movie like this made since “Shazam” is the most likable superhero at times but seeing these flaws on screen instead of that perfect role model shows that we are all fallible.
By Tim Wassberg
The essence that “Star Trek: Discovery” is trying to maintain in the sense of its progression is reflecting canon while still maintaining mystery and a sense of tension. With the aspect of “Through The Valley Of Shadows”, the foreshadowing continues and starts an infrastructure that interrelates in an odd way to aspects of “The Wrath Of Khan” but it also offers a bigger perception without either actor ever revealing it of the deep seated secrets or regrets with Spock, whether it be in the outcome of this escapade of “The Red Angel”, the perception of “The Managerie” or even Spock’s eventual second family in the Enterprise crew of Bones and Kirk and his eventual death and resurrection. To do this in a larger structure with the fact that certain ripple effects might literally wipe Michael Burnham out of the timeline at a certain point is a real perception. While reflexive, the show is still working on the basest psychological constructs. And especially within this idea, the concept of time, hinted at in the texture of “Interstellar” and its reflections of relativity, really gives an undeniably concept of the larger ideas that Discovery is playing with. Anson Mount shines in this episode as Pike and again gives clarity of the embracing of his ideas and what creates the shell of the man he becomes, both literally and figuratively. What is really reassuring is the adherence to the original series and its eventual progression and not the timeline of the new movies which while interesting for the big screen is not as integral a story as this one is turning out to be.
By Tim Wassberg