Capsule Reviews: Shazam! Fury of the Gods, 65 & Champions

by Philip Price

Shazam! Fury of the Gods

Photo: Warner Bros.

​Like many superhero stories these days, “Shazam! Fury of the Gods” unfortunately deals in its soul being pure and full of heart while contrasted with a murky visual style heightened by hollow visual effects. This four-year-later sequel isn’t as offensive as something like “Thor: Love and Thunder” in the effects department, but it is depressing gauging how much more enticing and satisfying something with as much charm as a David F. Sandberg film would be if its exterior matched its interior. I really enjoy Sandberg as a filmmaker and how he infuses every element of his films with that little something extra the film doesn’t necessarily need but signals the investment, inventiveness, and respect the man has for the craft of storytelling. ‘Fury of the Gods’ balances everything it wants to do and all of its many, many characters impressively (that Chris Morgan really knows how to work an ensemble) with the trio of female antagonists being especially emblematic of a threat and arc that made their marks in children’s movies of the ‘90s - where bad guys made the stakes feel real even if there was zero doubt of where we’d end up. Many will undoubtedly argue the villains are a weak point of the film, but everything in this movie is an archetype and the Daughters of Atlas (and Rachel Zegler especially) is one that builds on as much in a successful fashion. Jack Dylan Grazer remains a huge highlight and I can’t wait to see where his career goes while Asher Angel really draws the short end of the stick here. Things like the Lair set and Steve the pen are genuinely great and so many of the bits land that it’s difficult to imagine anyone walking out of this movie too upset, but it is quite an exhaustive third act that will either wear folks down or get them amped for the possibility of Shazam remaining in the DCEU and personally, as long as Sandberg’s at the helm, I not only wouldn’t mind Shazam sticking around but am optimistic at the thought.

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65

Photo: Sony Pictures

Beginning with text scrolling across the stars directing duo Scott Beck and Bryan Woods know they’re not reinventing the wheel here with “65,” meaning they would seem to have a handle on the basic requirements of their genre flick and yet - for one reason or another - the dots never fully connect. 
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This had to be the ultimate test of “trust the premise” for Adam Driver. This, along with what he was doing day-to-day when shooting overcoming one obstacle after another; he had to really hope and trust this would cut together in a fun/compelling way while knowing the intended tone and class of picture in which he was participating.

All productions are monotonous in certain regards though and Driver had to no doubt be inspired by the physical challenges and real locations (real locations!) he encountered, but for all the pros that can be leveled against “65” the final result and how successful it is still comes down to how invested the audience becomes in the experience and while the execution feels proficient it never reaches that plane of excitement or level of thrilling that will make it a benchmark monster movie - even in the vein of the schlocky genre it’s aiming for.

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Champions

Photo: Universal Pictures

​“Champions” is a by-the-numbers sports dramedy that charms with its charismatic cast, led by Woody Harrelson, while never being patronizing or preachy. There are more sex jokes than expected, but I chuckled and cheered meaning this fulfilled its intent.