By: Keaton Marcus

PREFACE:

Zack Snyder’s Justice League. Let me leave that there for a moment. The film only a minority actually believed would happen. Something that a few of us hoped for after the horrendous 2017 version. Indeed we have it today on HBO Max for a limited time, and although flawed, it is an undeniably incredible achievement in filmmaking history. A passion project that will be remembered by its lovers, and at the very least the naysayers shall be glad that Snyder got his vision completed after all the trauma he’s been through.

PREMISE:

Fuelled by his restored faith in humanity, and inspired by Superman's selfless act, Bruce Wayne enlists newfound ally Diana Prince to face an even greater threat. Together, Batman and Wonder Woman work quickly to recruit a team to stand against this newly-awakened enemy.

VISUALS:

Snyder knows how to make a spectacle, even if it’s sacrificing the majority of substance for it. With the constant use of slow-motion, big CGI action sequences, and an epic sense of scope and scenery, the aesthetic was absolutely beautiful. Because this is a product of re-shoots, a few of the visual effects do look more or less cheap at times, but overall, it was an incredibly visually impressive feat. The cinematography is stunning, dynamic, and the 4:3 aspect ratio gives the film a sense of life by giving audiences the entire picture. While his general style is controversial with critics calling it “too grainy”, I would argue that the slight darkness adds a sense of visual pleasure. Digital artificiality is vacant with this shot-on-film look. It almost seems like an independent film mashed in with all the big-budget visual effects of a comic-book me and I dug every second of it. It’s peppered with consistently strong and entertaining action sequences, and it ends a pulse-pounding visual experience. In terms of screenwriting, it just depends on what type of viewer one is. Will you be able to ignore substance so that style can thrive? I certainly did, eventually letting all the Snyder insanity wash over me.

EPIC STORYTELLING:

Additionally, it is difficult not to admire the sheer passion put into the scope and size of this story. There are many things happening at once, and Snyder flows scenes together perfectly, and the running time only helps, giving the characters time to flesh out, villains time to be set-up, and the team more time to meet. It also just feels extraordinarily satisfying to see each transition, always watching a new thing once the screen cuts to black. Whether it’s Steppenwolf’s conquest, Cyborg’s inner struggle, Batman and Wonder Woman attempting to form the league, and all the little intricacies within the overarching plot points. It almost feels like a Lord of the Rings film, with sprawling storytelling, with many unique settings and characters to meet. To be honest, it’s a die-hard fan’s dream, and although I wasn’t one myself before this cut, I can officially say I admire the man and his vision. Keep talking, Snyder.

OPENING THE DOOR:

One aspect about this entire thing even releasing is how it opens the door for new possibilities. Other filmmakers with passionate fan bases, such as Christopher Nolan, the Russo Brothers, and even Denis Villeneuve may be enabled to release their full vision. And it’s unbelievable that something like this could ever release on a streaming platform. Love it or hate it, it’s incredible that this is an actual movie. A four-hour director’s cut of a disastrous superhero movie. The new hope of more creativity and singular artistic vision is now out there, up for grabs, and I’m infinitely glad that HBO Max listened to the fans on this one.

THE DIFFERENCE:

Readers, admit it, please. This is a completely different movie. It follows the same basic framework, obviously, but all the best moments of the 2017 version were directed by Snyder, and it shows. Cyborg is given a sympathetic and emotional character arc, Steppenwolf has a motive and has a compelling story to prove himself to Darkseid. Bruce Wayne, dealing with the loss of Superman and having new faith resorted, confronts his inner demons. Even the seemingly one-dimensional characters have at the very least a tangible arc, and that is one of the many dissimilar ties in this edition. With this long of a running time, almost everything is given time to play out gradually. Nothing feels rushed or shoehorned in, and it’s glorious to watch its climactic end after hours of cathartic moments.

ISN’T THAT RIGHT, BATMAN?

Jared Leto’s Joker. Something that didn’t rub me the right way when I watched Suicide Squad. To be fair, however, that was an absolute train wreck of a movie. Leto’s five-minute sequence with Bruce Wayne in his premonition is masterful. Gorgeous, tensely-written, and above-all menacing, I believed every second of it. I’m interested in what they may do with this mysterious character next, and I could definitely see myself getting into his version of the character. It felt adult, realistic and mature, something that we haven’t seen much of in the superhero world lately. Cough Wandavision Cough. Anyway, it was a fantastically put-together encounter and was right what the fans needed at the end. An interaction between the most iconic hero and villain of the franchise.

BEN AFFLECK’S BATMAN

Sure, it’s another controversial opinion, but as much as I adore The Dark Knight trilogy, Affleck takes the cake for the best portrayal of Batman. People complain that he murders, and that’s against his moral code. While I understand the anger at this, I prefer it. His character development significantly grows over time. In Batman v Superman, he’s full of hate, remorse, depression, and just a general distaste for humanity. In Justice League, he has faith once again, becomes a true hero, and Affleck shows it flawlessly. His occasional quips don’t feel awkward anymore, his character moments are rightfully earned, and Snyder has crafted a magnificent character.

THE SCORE:

Hans Zimmer may not be gracing us this time, but the next best thing certainly is. Junkie XL sure knows how to compose a remarkable soundtrack. Each character had their own unique theme that fit them flawlessly, and it was true service for the fans when they played “Flight” in its full glory once Superman took off. Wonder Woman’s theme is still badass and accentuates the excitement whenever she enters. Lex Luthor’s theme was put in there, Batman, the Flash, Cyborg all had individual tracks. The underlying theme for the Justice League was subtle yet noticeable, something that’s irresistible, impossible not to nod your head to. Coupled with the impressive scale in the battle sequences, especially with the final showdown with Steppenwolf, it’s hard not to admire this work of actual art. Of course when we’re disregarding the operatic lamentation music that plays during every single Amazonian-related sequence.

RESPECT FOR THE DIRECTOR:

I completely understand all the hate for Snyder’s films. He’s got a style over substance relationship, and even his aesthetic has a required taste. I don’t love all of his movies, and all of them have a good amount of flaws, but the amount of respect this director has earned is immense. He lost his daughter to suicide after facing massive amounts of hate for his two DCEU installments, he had to witness his entire vision be taken down by a terrible original cut, and now he finally has made it. He’s directed his four-hour, batshit crazy magnum opus that’s bound to be remembered. A masterpiece in every respect despite also being immensely flawed. A bold, groundbreaking achievement that breaks the mold for filmmakers to come. He deserves this, and the fans got what they want. Let him rest.

CONCLUSION:

What else is there to add? I had an awesome time. I cheered, laughed, got emotional, and felt everything something like this should have made me feel. Right when the title card “For Autumn” came on at the end I knew I had just witnessed a product of passion and therapy. Some necessary cathartics for someone who had been through hell and back. The ultimate trilogy of God, man, and unity. Now complete.

$PLURGE IT