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where faith and film are intertwined

Aldis Hodge

Black Adam: The Dark Side of Heroes

It?s no secret that the DC?s cinematic adventures in recent years have been inconsistent, at best.?

While entries like Aquaman and Shazam! have proven successful, others such as Wonder Woman 1984 and The Suicide Squad films have failed to hit with audiences. (And that?s not even addressing the two hotly-debated Justice League cuts.) Now, with the release of Black Adam, the DC Extended Universe attempts once again to refuel with renewed focus.

And, this time, they may have actually done it.

Black Adam tells the story of Teth Adam (Dwayne ?The Rock? Johnson), the iconic ?champion? of Kahndaq. Bestowed with the powers of the gods, Adam was believed to be the saviour of the nation but was imprisoned for nearly 5,000 years. However, when he is released from his earthly tomb by those in need of justice, Adam?s rage is unleashed upon the oppressors of his home country?and anyone else who stands in his way.

Directed by Jaume Collet-Serra, Black Adam is a wild and frenetic affair that eventually becomes one of the better entries into the DC cinematic universe. While the pacing is erratic at first, Black Adam has a fire in its belly that anchors the film and makes it compelling. Throwing the film on his massive shoulders, Johnson takes hold of the DCEU and supercharges it back to life. Even in moments when the writing feels inconsistent, Johnson?s natural charisma helps keep the film focused and moving forward with authority.

In addition to its titular hero himself,?Black Adam?also introduces the Justice Society into their cinematic canon. Featuring characters such as Dr. Fate (Pierce Brosnan), Hawkman (Aldis Hodge), Cyclone (Quintessa Swindell) and Atom Smasher (Noah Centenio), the Justice Society is well-known in the comics but are finally making their big screen debut. Admittedly, their inclusion does feels jarring as the script tends to assume that the viewer already knows these characters. This makes for a bit of a wonky start to the film instead of launching cleanly. However, the performances are so fun that one can?t help but welcome them into the action as the film unfolds. (It?s also worth noting that Hodge has some wonderful chemistry with Johnson as the two heroes clash over their different ideologies.)

Although Zack Snyder?s name is unattached, Black Adam feels as though it was made in his cinematic image. Featuring highly stylized violence and slow motion action sequences, Adam?s visuals fit very neatly the DC world that Snyder established with Man of Steel and Justice League. As a result, Black Adam feels like somewhat of a course correct from Warner Bros. as they attempt to restore the faith of diehard fans of Snyder?s work, while still chartering a new direction for the franchise. (In fact, without any spoilers, it?s worth noting that the film?s post-credit sequence is certainly a signal that what has come before is far from erased.)

So, while WB remains unwilling to fully restore the Snyderverse, perhaps they intend to repair it? 

Although Black Adam seems to be one of the rare examples of the DCEU to have a sense of humour, the film is at its best when it?s not trying to joke around. Considering the gravitas that?s embedded within the heart of its central figure, the more serious moments are the ones that put the film at its best. Though he is begged to be a hero, Teth Adam has a heart fueled by a deep-seeded rage that stems from the scars of oppression and pain. 

To him, being the champion requires a willingness to not play by the rules. 

After all, for almost 30 years, the nation of Kahndaq has found themselves burdened under oppression and violence. From military checkpoints to flying hover sleds, the people are constantly under surveillance. (Incidentally, Kahndaq feels like a unique blend of the technological advancement of Black Panther?s nation of Wakanda and the grounded realism of the modern Middle East.) Broken by subjugation, this is a culture that struggles to see the difference between right and wrong anymore, especially when one side claims to be doing things the right way. (?It?s easy to know what?s right and wrong when you?re the one drawing the lines of justice,? Teth Adam claims boldly.)

Interestingly, although virtually every other heroic character in the genre plays by some form of rules, Teth Adam is willing to break them all. Killing others without remorse, he constantly reminds those around him that he is no hero, even as they plead with him to become one. Although, ironically, this call to action seems to inspire the people. With Adam as their new ?champion?, the people finally believe that they have someone who is hearing their cries. In him, they believe they have a model to reclaim power. 

After all, for Teth Adam, the best way to end oppression is to end the lives of the oppressors. 

Even so, Black Adam never loses its concern for the soul of its hero. Members of the Justice Society not only fight against evil, they also fight to redeem Teth Adam and his actions. They continuously cry for Adam to do the right thing, rather than succumb to his more violent tendencies. (At one point, Hawkman even warns him that ?The more you give in to violence, the more it darkens your soul.?) But can one be heroic while allowing themselves to take the lives of others? This is the question that lies at the heart of Black Adam and actually makes it one of the more compelling entries of the DCEU. 

While Black Adam is far from perfect, there?s no doubt that it flexes its muscles. Fun and furious, Adamsupercharges the DC extended universe and actually brings enthusiasm for the next chapter of its story. Though often brutal, Teth Adam?s journey to save Kandahq is compelling in its character work and thrilling in its action sequences.

But, more importantly, he may have also saved the entire DCEU as well.

Black Adam is available in theatres on Friday, October 21st, 2022.

One Night in Miami: History for Today

Regina King flexes her incredible directorial skills for the first time in a feature film by bringing Kemp Powers’ stage play, One Night in Miami to the big screen (or little screen, as it were).

One Night in Miami is a fictional take on a meeting between real life friends, Malcolm X (Kingsley Ben-Adir), Cassius Clay (Eli Goree), Jim Brown (Aldis Hodge), and Sam Cooke (Leslie Odom Jr.) as they celebrate Clay?s title victory in 1964. At this time, these four very successful and world-renowned black men were at pivotal moments in their lives and careers.? Despite their stature, they continued to witness and experience the racism that was rampant in the 60?s, and still plagues us to this day.

Malcolm X was at a crossroads with the Nation of Islam and was in the process of pursuing his own branch of the Muslim faith.? As adversity continued to rise, he was growing weary from oppression, including numerous death threats.? Even so, he continued to be as passionate as ever about his activism and was invested in helping Cassius Clay transition to the faith.??

Clay, a confident and free-spirited man, was now a world champion boxer, and was quietly practicing as a Muslim under the teachings of Malcolm X.  He initially seemed timid about going public with his faith, and seemed to struggle when he finds out about Malcolm?s tribulations.

At the peak of his football career, Jim Brown was in the process of transitioning to acting.? We see a shocking hypocrisy with Jim?s backstory when he meets with a benefactor who is kind and welcoming to his face but then admits that they don?t welcome black people into their home.

Sam Cooke was the ultimate 60?s pop star who, according to Malcolm X, seemed to have his foot in the door of the white man.  Malcolm took issue with the fact that Sam wasn?t using his platform to speak on the civil rights issues facing the black community.

When these four men are in a room alone together, it sparks deep and passionate conversations about faith, civil rights, racism, and freedom.? As this was a stage play, we are blessed with numerous impressive monologues from each character.? This is an extremely emotionally driven piece and it certainly makes you think and compare the world they were living in with today’s culture.

One thing that Malcolm X said that struck me was that there is no reason for anyone to be on the fence anymore.? There are literally people dying in the streets everyday.? Black people are dying everyday and a line has got to be drawn in the sand.? This is so shockingly relevant to society today.? This is unfortunately the world we continue to live in and the world that we must change.?

One Night in Miami was a very impressive film that is not only entertaining but extremely relevant and important.? Each performance was incredible.? From the footage I have seen of these men in real life, the acting was spot on.? They had great chemistry on screen.? You believed their friendship but you also believed their disagreements.? And perhaps we can take a note from these men in the way that they support each other, yet don?t hesitate to call it out when there?s an issue and a potential for growth.

One Night in Miami is currently streaming on Amazon Prime.

TIFF20: One Night in Miami

One Night in Miami' Review: Regina King's Vibrant Directorial Debut | IndieWire

Regina King flexes her incredible directorial skills for the first time in a feature film by bringing the stage play, One Night in Miami by Kemp Powers, to the big screen (or little screen, as it were).

One Night in Miami is a fictional take on a meeting between real life friends, Malcolm X (Kingsley Ben-Adir), Cassius Clay (Eli Goree), Jim Brown (Aldis Hodge), and Sam Cooke (Leslie Odom Jr.) as they celebrate Clay?s title victory in 1964.

When these four men are in a room alone together it sparks deep and passionate conversations about faith, civil rights, racism, and freedom.  As this was a stage play, we are blessed with numerous impressive monologues from each character.  This is an extremely emotionally driven piece and it certainly compares their world in 1964 to ours in 2020.

One Night in Miami is a very impressive film that is not only entertaining but extremely relevant and important.  Each performance was incredible and the cast had great chemistry on screen.  (In fact, from the footage I have seen of these men in real life, the acting was spot on.)  You believed their friendship but you also believed their disagreements.  And perhaps we can take a note from these men in the way that they support each other, yet don?t hesitate to call it out when there?s an issue and a potential for growth.

One Night in Miami is currently streaming at the Bell TIFF Cinema as part of the Toronto International Film Festival.

Clemency – A Warden’s Walls

?You want to be whole.?

A couple of hours before viewing Clemency, I took in an excellent photo exhibition focusing on walls. That influenced  how I understood this powerful film. The obvious reason is that the film takes place mostly within a prison, but that is only one of the kinds of walls we encounter.

The film opens as Warden Bernadine Williams (Alfre Woodard) oversees an execution that goes wrong, causing severe suffering prior to the inmate?s death. She is upset, because she believes a key part of her job is to provide dignity to these unfortunate men in their last hours. She is firmly in control of her prison, and is obviously an able administrator. She treats prisoners humanely. She calls them by name, not by a number. She knows all the people she deals with?prisoners and staff?are first of all human beings.

But as we watch, we see that this is a very heavy burden. She suffers from insomnia, she drinks heavily, she has nightmares, and her relationship with her husband (Wendell Pierce) is quickly falling apart. As she moves on the next upcoming execution, she comes into frequent contact with the condemned prisoner, Anthony Woods (Aldis Hodge), convicted of killing a police officer. Woods is without family. The only people in his corner are his attorney Marty Lumetta (Richard Schiff), who is ready to retire, being worn out with death row advocacy, and the crowd of anti-death penalty protestors outside the prison. Woods has slim hope that gets thinner when the date is set for his execution.

The Warden must go through the procedures with Woods, so he knows everything that will happen. She must also deal with various other issues. Through it all she does everything exactly according to regulations. Those regulations serve as one of the walls she has built to try to protect herself from the feelings inherent in killing another human being. All around her we see the stress this has on others. There is Lumetta, who can?t stand the thought of doing his job anymore, the prison chaplain who will be retiring, a senior corrections officer who cannot bring himself to take part in another execution, and most deeply her husband, who struggles to keep their relationship healthy. Yet Warden Williams has walled herself inside a fa?ade of regulation and decorum. If a crack were to appear in that wall?.

The film has an interesting, and perhaps counterintuitive approach to lighting. The scenes inside the prison are brightly lit, but the scenes outside the prison environment (usually her home or a bar) are dark and dreary, even if she is curled up with her husband. It is as if inside the prison is her safe place, where she is in control, and protected by the emotional walls she has put in place. But once outside the prison walls, her protection is not effective. Being open to the emotions she has walled off puts her into a dark and dangerous world.

As we watch Williams and Woods, we see that they are mirror images. He is confined by the walls and bars of the prison, but dreams (and draws) of freedom. She easily walks through locked gates, but has nightmares of confinement. What they share is a sense of being alone?no one around them knows what it is like to be facing a death sentence, or to be burdened with carrying it out correctly.

For Warden Williams, the walls that confine her?the regulations, the appearance of strength, the emotional stoicism?put her in danger of losing her sense of humanity?the very kind of dignity she seeks to provide the condemned. That encapsulates the power that this film brings to our understanding of capital punishment. (It should be noted that I thoroughly oppose capital punishment, so I saw this film as corroborating my opinion.) This film is not about whether capital punishment does or does not bring justice. Nor does it address questions about wrongful convictions. The way this film looks at the issue is the destructive effect this has on those who are responsible for capital punishment. Although it is Warden Williams who carries the burden in the film, in reality she is a stand-in for the society that continues in this practice. That is, she stands in for all of us. We too have built walls to distance ourselves from having to emotionally confront the morality (or lack thereof) involved in state-sanctioned killing. Do those walls protect us, or do they confine us?