![]() One young subject, however, rebels and exhorts his countrymen to revolt he is endowed with his own superheroic power that’s summoned with the word “shazam,” and, in the resulting melee, Akh-Ton is killed and his palace is blown to rubble. It begins with an immense backstory of mumbo-jumbo, set in 2600 B.C.E., in a fictitious Middle Eastern or North African land called Kahndaq, where a tyrant named Ahk-Ton (Marwan Kenzari) enslaves his subjects to dig for a mineral called Eternium with which he’ll forge a superpowered crown. “Black Adam” feels like a place-filler for a movie that’s remaining to be made, but, in its bare and shrugged-off sufficiency, it does one positive thing that, if nothing else, at least accounts for its success: for all the churning action and elaborately jerry-rigged plot, there’s little to distract from the movie’s pedestal-like display of Johnson, its real-life superhero. ![]() superhero spectacles that have more or less taken over studio filmmaking, but it accumulates the genre’s-and the business’s-bad habits into a single two-hour-plus package, and only hints at the format’s occasional pleasures. It isn’t worse than many of the big-budget C.G.I. The movie’s many small flaws-and even its few small virtues-arise from its one big problem, namely, its positioning in the DC corporate-cinematic empire. There’s nothing so wrong with “Black Adam” that it should be avoided, but nothing-besides the appealing presence of Dwayne Johnson-that makes it worth rushing out to see.
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