Shazam! Fury of the Gods 2023

Part of the challenge lies in delivering a successful follow-up. Origin stories often serve as a prelude, with the promise of more thrilling adventures to come (akin to “Batman Begins” paving the way for “The Dark Knight”), but sometimes, the origin story is the main attraction. “Shazam!” revolved around Billy grappling with his newfound superhero identity, bestowed upon him by Djimon Hounsou’s Wizard. The heart of the film was Billy’s journey to harness his powers while concealing his vulnerable identity, akin to a juvenile delinquent version of Clark Kent. However, now that Billy’s secret is out, and he is joined by his fellow foster siblings-turned-superheroes, they resemble a diluted version of the Justice League. Asher Angel, as Billy, has aged, but he occupies a peripheral role in the narrative, almost relegated to a secondary character.

Our protagonists face formidable adversaries, at least in terms of casting. Helen Mirren, Lucy Liu, and Rachel Zegler portray Hespera, Kalypso, and Anthea, the Daughters of Atlas, who descend to Earth to reclaim the power of the gods from Shazam and his allies, whom they perceive as usurpers. With esteemed actresses like Mirren, one would expect riveting performances, yet upon their introduction, Hespera and Kalypso come across as generic troublemakers on a predictable mission.

The screenplay, co-authored by Henry Gayden (the writer of the original film) and Chris Morgan (known for his work on the “Fast and Furious” franchise), fails to provide Mirren with the opportunity to showcase her talents, akin to Cate Blanchett’s portrayal in “Thor: Ragnarok” or Mark Strong’s in the first “Shazam!” While a comic-book villain need not reach the heights of Heath Ledger’s Joker in “The Dark Knight,” they should exude a palpable depth of malevolence. Unfortunately, Mirren’s potential remains untapped, as does Lucy Liu’s subdued ferocity, reduced to a single-minded temper tantrum. Rachel Zegler, known for her role in “West Side Story,” possesses a more nuanced character with a deeper connection to our heroes, yet her role could have been further developed. Anthea’s interactions with Freddy (Jack Dylan Grazer), the foster sibling who adopts a nerdy persona, possess a vibrant high school comedy vibe reminiscent of the Tom Holland “Spider-Man” films (a testament to director David F. Sandberg’s playful spirit). However, this dynamic quickly fades into obscurity. Moreover, it’s challenging to invest in a magic staff that resembles a stage prop witch’s broomstick with an energy-efficient light bulb inside.

Nevertheless, fret not! The narrative also features a golden apple and a dome ensnaring Philadelphia. Additionally, an array of monsters emerges, including a seemingly random dragon crafted in a spindly manner reminiscent of Groot or Guillermo del Toro’s Pinocchio. Moreover, an explosion of giant vine-like structures, resembling wood, spawns various creatures—a snarling cyclops, a ferocious griffin, and others. Unicorns make an appearance too, albeit not as rainbow-colored angelic beings but as robust, dark-hued stallions. By the time these creatures converge, viewers may find themselves in need of a flowchart to navigate their hierarchy of power: magic staff > beasts < unicorns = dragon.

In the end, the villains are vanquished, the mythos is fulfilled, but the true narrative here is the transformation of a superhero saga that once promised quirky delight into a conformist franchise. The real adversary lies in the homogenizing force that diminishes its unique charm.