For almost 50 years writer/director Paul Schrader has essayed God’s lonely men; “Taxi Driver’s” Travis Bickle, Julian in “American Gigolo” and “First Reformed’s” Reverend Toller, among others. They are isolated characters, men who live outside regular society, haunted by the lives they’ve led.
In his latest film, “Master Gardener,” now playing in theatres, Schrader adds a new name to his soul-searching rogue’s gallery.
“Gardening is a belief in the future,” says horticulturalist Narvel Roth, played with a quiet intensity by Joel Edgerton, “that change will come in due time.” His words come steeped with meaning. A former neo-Nazi—his repulsive, racist tattoos now hidden under ever-present long-sleeved shirts—he has turned his life around and now works at the stately Gracewood Gardens. The hundred-year-old botanical beauty sits on a property owned for generations by the Haverhill family, and is the pride of mercurial old money maven Norma Haverhill (Sigourney Weaver).
Meticulous and methodical in his duties, Roth cultivates the award-winning garden with a steady hand. It’s a simple, spartan life, ruled by self-discipline and routine.
When he isn’t digging in the dirt, he occasionally visits the big colonial house for a meal, a quick tryst or a consultation with Haverhill. On one such meeting he is told that Haverhill’s biracial grandniece Maya (Quintessa Swindell) will be joining his team. The troubled young woman has fallen in with a bad crowd, and Haverhill thinks the discipline and quietude of working in the garden will straighten her out.
He agrees to show her the ropes, not realizing that her presence will upset the serenity of the garden, his new life and his relationship with Haverhill. “The seeds of love grow like the seeds of hate,” he writes in his journal.
“Master Gardener” observes racism and redemption, wondering aloud if emancipation from the stigma of past deeds is possible.
Roth is a complex character, played like a tightly wound Chauncey Gardiner, whose terrible past presents itself in flashbacks that hint at the maelstrom bubbling beneath his stoic exterior. He is a Schrader architype, a solitary man whose involvement with a protégée could complicate his life, but Edgerton sets him apart from recent Schrader characters with a mix of the serene and physical. The work is both elegant and aloof, straightforward and elliptical, and showcases Edgerton’s charisma and versatility as a leading man, when not covered in a layer of blue make-up.
He is ably supported by Swindell, who brings intelligence and understanding to the role, even if her horror at Roth’s racist past evaporates a little too easily.
Weaver, as a stereotype of every isolated wealthy matron, chews it up, delivering lines like, “I thought you had a green thumb, but it turns out you have a green middle finger,” with gusto.
“Master Gardener” is apparently the wrap to Schrader’s recent Calvanist guilt trilogy. While interesting and as rich in allegory as the previous two films—”First Reformed” and “The Card Counter”—its study of redemption, while hopeful and even-handed, requires too many leaps of logic to fully embrace.
Black Adam, the titular character of the new Dwayne Johnson movie, walks like a superhero, but doesn’t talk like one. He has super speed, incredible physical strength, extraordinary stamina, unflinching courage and a skin-tight suit like goody-two-shoes Superman, but he’s also got an attitude. “My powers are not a gift,” the DC Comics character says, “but a curse. Born out of rage.”
The character’s origin story dates back thousands of years to ancient Kahndaq, a tyrannical kingdom where a power-hungry, despotic king has enslaved his people to mine a rare substance called Eternium that will help him attain God-like powers.
(POSSIBLE SPOILERS AHEAD)
When one young worker fights back, his bravery is rewarded by the Council of Wizards, and before you can say the word “Shazam,” the child is imbued with mystical powers. When the youngster’s family is targeted for death, he makes the ultimate sacrifice and transfers his powers to his father Teth-Adam (Johnson). Stripped of his mystical energy, the boy is now human again, and is soon killed.
Filled with rage, Teth-Adam uses his powers to unleash demons, a crime that sees him imprisoned for 5000 years of dreamless sleep. “The world needed a hero,” he says. “Instead, it got me.”
(END OF SPOILER ZONE)
Awoken in modern day by university professor and resistance fighter Adrianna Tomaz (Sarah Shahi), he emerges as a vengeful entity with a twisted sense of integrity. “I was a slave until I died,” he says. “Then I was reborn a god. My son sacrificed his life to save me. Now, I kneel before no one.”
His old home of Kahndaq is now under military occupation by an organization called Intergang who set their sights on finding the ancient Eternium Crown of Sabbac at any cost. But with Teth-Adam back on the scene, that cost come with a huge, bloody price tag.
A larger-than-life justice machine, his violent curbing of Intergang soldiers brings him on a collision course with the Justice Society of America, Cyclone (Quintessa Swindell), Doctor Fate (Pierce Brosnan), Atom Smasher (Noah Centineo) and the winged Hawkman (Aldis Hodge), a group of superheroes who enforce global stability.
“Heroes don’t kill people,” says Hawkman. “Well,” says Teth-Adam, now renamed Black Adam, “I do.”
It’s about time Dwayne Johnson played a superhero, or mystical anti-hero, or whatever the heck Black Adam is supposed to be, right? A real-life, larger-than-life character, he physically fits the bill—no padding required in his tight spandex suit—and his heroic bona fides are well defined. He’s a natural, but here he’s saddled with a reluctant hero’s journey. His morose character works against the very traits that have made The Rock beloved. He’s all pumped up, that is for sure, but the charisma that usually flows so effortlessly out of him has narrowed to a trickle. Even though he is omni-powerful, Black Adam, the character, is about as interesting as a glass of tepid water. It’ll quench your thirst, but isn’t all that fun.
It doesn’t help that Johnson is surrounded by Dollar Store versions of more established superheroes. The Justice Society of America are generic brand world-savers, but do add a bit of zip to the proceedings, even if they put you in the mind of Dr. Strange, Storm, Ant-Man and Falcon while doing so.
“Black Adam” is one big kaboom. The plentiful action scenes are CGI orgies, large-scale land and air battles meant to distract from the clunky, exposition heavy story. As an origin story there are lots of moving parts as we get to know Teth-Adam and Justice Society members. Layer in historical perspective and a theme of freedom over tyranny and you have a movie that feels, simultaneously, over-stuffed and yet, because nothing is explored in any depth, undercooked.
I’m sure “Black Adam” will be the beginning of a new franchise for Johnson, and it should fill the hole felt by DC fans aching for more Zach Snyder-esque slo-mo (even though the film was directed by Jaume Collet-Serra) but I found the cluttered, “the enemy of my enemy is my friend,” story more forgettable than fun.
