Resurrected from the ruins of an underwhelming blockbuster dud, Zack Snyder’s Justice League sees a vital comic-book movie property revamped into a supersized superhero spectacular that carves its own identity amidst an overcrowded market, even though its expanded nature may be too much for some.
First, some background: the 2017 release of Justice League was in many ways a cursed production. Tasked with competing against the similarly themed, and phenomenally successful The Avengers, an already monumental challenge became near impossible when director and creative force Zack Snyder (Watchmen) left the production due to a family tragedy. The Avengers director and once fanboy favourite Joss Whedon was brought in to complete the job, only to deliver an average superhero movie marred by CGI foibles and distracting attempts to lighten up Snyder’s darker, more serious tone.
From this came a demand from fans of the DC superhero universe to “Release the Snyder Cut”, a rallying cry that became damn-near pop-culture revolution. Warner Bros. Pictures complied and then some, providing Snyder the resources and creative freedom to complete his vision: a 242 min superhero epic told in six chapters.
Zack Snyder’s Justice League begins with the death of Superman (Clark Kent), a colossal event that alerts dark forces in the universe that planet Earth is fair game. Haunted by visions of an upcoming invasion, Batman aka Bruce Wayne (Ben Affleck) attempts to assemble a team of heroes - Amazonian princess Wonder Woman (Gal Gadot), Atlantean prince Aquaman (Jason Mamoa), the freakishly fast Flash (Ezra Miller), and human-machine hybrid Cyborg (Ray Fisher) – to defend the Earth. That threat arrives in the form of monstrous Steppenwolf (Ciaran Hinds), who scours the Earth on behalf of his master, the god-like Darkseid (think Thanos but with a meaner mug) for three indestructible “Mother Boxes” that when combined gives whoever possesses it unlimited power.
While the bare bones of this “Snyder cut” resembles the 2017 theatrical release, this version feels like a much together different, stronger beast. With time to let his story and characters breath, Snyder has created a superhero saga that truly fleshes out its world building to successfully separate itself from other superhero franchises. With its fictional cities and rich mythology, the DC realm has always been a world within itself, and Snyder captures that ambience here, with especially strong production design from Patrick Tatopoulos (I Robot) and cinematographer Fabian Wagner (Overlord.)
The assemblage of these superheroes is less rushed, with focus on individual storylines adding more depth to these characters and their motivations. Cyborg is presented as a much more human construct of regret, grief, and agony; the Flash proves himself as more than the rapid-fire comic-relief; and Batman, who in the Justice League theatrical cut felt neutered compared to his portrayal in Batman v Superman, is much more pro-active. Even supporting characters such as Lois Lane (Amy Adams), Alfred Pennyworth (Jeremy Irons), and Commissioner Gordon (J.K. Simmons) are given time to shine.
With such an emphasis on setting and character, so to do the stakes feel bigger. Snyder has ramped up the intensity here in the action scenes, which are now much more impactful and bloodier (the film received an R-rating for its violence). Steppenwolf especially comes across as a cunning, savage beast worthy of our aww and fear, while the looming dread of Darkseid is palpable.
There are problems to be found in Zack Snyder’s Justice League, for sure. Chris Terrio’s (Argo) screenplay is very exposition heavy, and the films runtime will no doubt wear down on those less interested in this form of film genre. There is no denying, though, that this Zack Snyder cut is a triumph not only of an artist’s vision, but that of a fan community whose tenacity and passion made it happen. Now for the focus to be on Warner Bros. Pictures to continue with this franchise, with Snyder at the realm. #MakeTheJusticeLeaveSequel anyone?
