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Ray Fisher

Zack Snyder’s Justice League: Reborn Film Finally Does Justice to the Franchise

September 7, 2021 by Steve Norton Leave a Comment

You could forgive me if I doubted.

After years of hearing about the mythological ‘Snyder Cut’, there was simply no way that this film could meet expectations. After all, the original film was such a tepid piece of fodder that there was simply no way that a few tweaks or additional scenes could self-correct a franchise that had fallen so far off the rails. Now, with a refreshed budget and a new home on HBOMax and Blu-ray, Zack Snyder’s Justice League has finally arrived. 

And I admit that I was stunned by the results.

The details of the Snyder Cut’s resurgence has been well-documented. Determined not to copy Marvel’s roadmap to success, DC chartered their own path that rushed the process. By the time that The Avengers came around, standalone films had charted a path that allowed audiences to connect with the characters before they attempted to work together. Falling behind in the box office, the release of Batman v. Superman: Dawn of Justice gave DC the chance to try and regain some traction in the pop culture world. In their attempt to speed up the process, they threw their characters into films without any proper introductions. Whether they were attempting to ‘catch up’ to Marvel or simply afraid of being accused of ‘copying’ Disney’s juggernaut franchise, the result was a middling mess of confusion that left no time to create something special. 

After Joss Whedon’s cut of the Justice League failed to catch on with audiences, WB may have thought they were free of the franchise with a chance to reboot things once again. However, they underestimated their fans. After an unprecedented fan campaign that lasted three years and a hashtag (#ReleaseTheSnyderCut) that simply wouldn’t die, WB found themselves portrayed as the villains of a fiendish plot to suppress a director’s vision. Even so, they held firm to their comment that any other version for the film simply did not exist.

All that changed with the creation of HBOMax. Even if Snyder had been able to complete the film initially, there’s simply no way that the WB would have allowed a four-hour cut to be released in theatres, especially for a franchise that had been viewed as flailing. Although, with the move to streaming, Snyder suddenly had the opportunity to lean in to his longer take on the film. All of a sudden, he had the time (and freedom) to tell the story his way. Given more space in the world of digital media, Snyder’s League feels less like a theatrical release and more like the first chapter of a mega mini-series event. At a time when binge-watching has taken over the ‘theatrical experience’, Zack Snyder’s Justice League leans into our current obsession with long-form storytelling, complete with ‘chapters’ marking breaks within the film. 

Most importantly though, what about the quality of the film itself? 

The truth is that it’s good. Very, very good. 

Shockingly good, really.

In the new cut, Zack Snyder’s Justice League picks up immediately following the events of Batman v. Superman: Dawn of Justice. After Superman’s (Henry Cavill) death, the world is left with a need for heroes. As such, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) begin building a team of super-humans who will stand together against an ancient evil that is preparing to return and exact revenge on humanity. 

Although I have never considered myself a ‘Snyder-apologist’, one can’t help but recognize the quality of his epic saga. The ‘director’s cut’ is far from a new concept in our culture. Even so, the extent of these re-edits usually amounts to a few additional scenes or some updated special effects. In the case of the new League, Snyder offers an almost entirely different story with new subplots and expanded character beats.

In fact, it’s not an exaggeration to suggest that it improves on the original theatrical cut in virtually every way.

While Whedon’s original film attempted to ‘lighten’ the tone with more quips and less exposition, that vision never truly fit with the world that Snyder had already created. Marked by rushed character arcs that never satisfy and a bland villain, the original film rarely works. Nevertheless, with the move to HBOMax, Snyder’s version has the proper time to explore the stories of new characters without betraying the larger superhero story. Though this saga would obviously have benefited from prior stand-alone films, Snyder’s League does its very best to compensate by giving meaningful backstories to its new additions, especially Ray Fisher’s Cyborg. Once a side character with little relevance, Cyborg has suddenly become the film’s emotional core with an arc that has a significant impact on the outcome of the story.

In addition, the most notable change comes through a more fully realized villain in Steppenwolf. Whereas Whedon trimmed the brute’s story down to almost nothing, Snyder’s new footage offers a meaningful role to the character. Instead of a standard ‘big bad’ who’s forgettable (at best), the new League highlights his motivation and relationship to the larger impending force of nature in Darkseid. As a result, not only does Steppenwolf become more interesting to the viewer but his actions simply make more sense. (What’s more, new special effects give the character a much more menacing look, a factor that was lacking in the original cut.) 

Of course, it’s also important to know that the film ends on an enormous cliff-hanger. Originally conceived to be the first of three films, League operates in grand strokes but never fully concludes. (For the record, Snyder has currently stated he has no intention of returning to the world.)

What’s more, despite its overall quality, this League will not likely win any new converts from those who struggle to connect with Snyder’s vision. Although it goes without saying that this a vastly improved version of the film, all the Snyder-isms that will cause derision remain front and centre. Off-putting to some for his showmanship, there’s little question that his visual polish drives his work. Featuring a litany of stylized effects, slow-motion action and dark, gritty story-telling, League is Snyder is at his free-wheeling best yet he will still likely alienate viewers who are looking for something more along the lines of Marvel’s lighter, more humorous tone.

However, these vast differences are all very intentional. Whereas Marvel has taken a much more scientific or ‘human-centred’ approach to their content, Snyder’s vision for the DC Universe has always included viewing these heroes as modern gods. Though Marvel seems to create heroes on par with mankind, Snyder views characters like Superman, Batman and Wonder Woman as super beings who have been sent as examples to inspire humanity to greatness. (One need not look further than the giant monument to Superman to see that this is true.) There’s a deep admiration for his characters within Snyder’s work that hints at the spiritual longings of a culture looking for heroes. As such, his vision for the League meets every superhuman act with a grand crescendo. Bursts of electricity, clangs of metal and a bombastic soundtrack give the film an epic scale that highlights his vision. To Snyder, the DC Universe is an example of our modern mythology and, as such, he is unapologetic in his reverence for the material.

With the release of his ambitious superhero opus, Snyder truly does come out as the winner here. With grandiose storytelling and vastly improved character arcs, Zack Snyder’s Justice League shows what the director can do when given the time (and money) to bring his vision to life. As a result, this reborn League certainly feels like the unexpectedly epic conclusion that this chapter of the DCEU (and Snyder himself) needed.

That is, until #RestoreTheSnyderVerse takes effect.

Zack Snyder’s Justice League is available to stream on HBOMax and on Blu-ray. The special feature included is “Road to Justice League” as Snyder reflects on the three DC films he made for Warner Bros.

Filed Under: Featured, Film, HBO Max, Premieres, Reviews, Television, VOD Tagged With: Amy Adams, Ben Affleck, Ciarin Hinds, DC, DCEU, Ezra Miller, Gal Gadot, Henry Cavill, J.K. Simmons, Jared Leto, Jason Mamoa, Jesse Eisenberg, Ray Fisher, ReleaseTheSnyderCut, superheroes, Superman, Wonder Woman, Zack Snyder, Zack Snyder's Justice League

7.15 Restoring the Universe in ZACK SNYDER’S JUSTICE LEAGUE

March 28, 2021 by Steve Norton Leave a Comment

After Joss Whedon’s Justice League failed to catch on with audiences, those committed to seeing Zack Snyder’s original vision brought to completion began the most extensive fan campaign that Hollywood has ever seen. Featuring hashtags, billboards and even renting a plane, #ReleaseTheSnyderCut seemed like a passionate but empty pursuit. However, after four years and an additional $100M, Warner Bros. has finally released the Snyder Cut onto HBOMax. Clocking in at over four hours long, Zack Snyder’s Justice League has new effects, new characters and a more fully-developed script… but does that truly make it any better? This week, Victor Stiff (host of YouTube’s Dope Black Movies) and Dave Voigt (podcaster and founder of InTheSeats.ca) stop by to debate the value of the Snyderverse, the nature of heroism and the differences between Marvel and DC.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.15 Zack Snyder’s Justice LeagueDownload

Filed Under: Featured, Film, HBO Max, Podcast Tagged With: Batman, Ben Affleck, DC, DCEU, Ezra Miller, Gal Gadot, Henry Cavill, Jason Mamoa, Justice League, Ray Fisher, Superman, Wonder Woman, Zack Snyder, Zack Snyder's Justice League

Batman v Superman – Dawn of Justice: This Film Has Daddy Issues

March 23, 2016 by Jacob Sahms 4 Comments

bvs3

Batman v Superman: Dawn of Justice has been hyped as the battle between the alien, godlike Superman and the human vigilante Batman. Chronologically, it serves as the second film in writer/director Zack Snyder’s reboot of Superman’s film history, which attempted to erase the Superman-has-a-kid mistake that was Brandon Routh’s Superman Returns. But while Dawn of Justice failed to deliver an epic, theater-rattling battle royale between the two, it served up more than its fair share of superhero noir and metaphysical questions about the world we live in.

Opening with the impact of Superman’s (Henry Cavill) battle with General Zod (Michael Shannon) that proved to be the climax of Man of Steel, the film reminded us (in IMAX 2D and Dolby surround) of the terrible implications of two humanoid aliens ripping each other apart. While we’re left shaking our heads at the unSuperman-like neck break that saved the tourist family, Bruce Wayne (Ben Affleck) struggles to free a Wayne Enterprise employee (Scoot McNairy) from the debris and stares angrily at the Superman floating in the heavens. Of course, Wayne has already donned the cowl of the Dark Knight, but his methodology (and paranoia about Superman’s intentions) create an ideological rift about which Superman remains naive for another eighteen months.

Meanwhile, LexCorp head, Alexander Luthor (Jesse Eisenberg) provides the straw that stirs the drink. He’s the one pushing in the background for these two to finally do battle, having already scouted out the secrets behind Wayne and Superman’s Clark Kent. While comic geeks like me have watched various incarnations of Superman drag out the Kent/Lois Lane (Amy Adams) romance, Snyder’s version already sets her up as reporter extraordinaire (“I’m not a woman, I’m a reporter”), Clark’s girlfriend, and Superman’s damsel in distress.

bvs2I’ve read the reviews and heard the critics of the film – “too much Snyder action,” “too few plot points developed.” I’ll ask incredulously, as someone who has been critical of Snyder’s film (300 –overrated; Man of Steel– anachronistic to the canon), what in the world are they talking about?  While I came expecting to see two hours of the extensive two-and-a-half-hour run time devoted to skull crunching, nose-mashing action, I found myself pleasantly delighted by the new version of Batman’s back story in development (although I hated his bulky suit) and the hints, peeks, and foreshadowing directed at Wonder Woman/Diana Prince (Gal Gadot) and a host of other heroes and villains.

The story of the new triumvirate, spun here as Superman, Batman, and Lex (sorry, Gal, it wasn’t equal billing for Wonder Woman), was soaked in theological underpinnings – and struggle. This in itself confronts another critic complaint about the film – “it’s not funny enough.” Let’s be clear, neither Batman (with apologies to the hokey Adam West) or Superman (how many witty one-liners can you find in Donner’s films or the works of Siegel and Shuster) have much “funny” to them, in fact, you can go count up the examples… I’ll wait. While Marvel has a handle on the mostly upbeat superhero motif, DC aims here for something different.

bvspainting

Instead of the hip quips from the smarmy mouth of Tony Stark AKA Robert Downey Jr., Snyder focuses on “showing us” versus “telling us.” Yes, there’s a voiceover from Wayne about what the destruction of the world looks like – and Lex’s fascination with a painting that was passed down from his father (above, background). He goes on and on about how mankind has long thought that evil came from below (hell) but he has recognized that evil comes from above (heavens) in his own twisted take on theology.

But Lex also introduces the problem of evil, the discussion of theodicy. Lex believes that a god cannot be both all powerful and good, because he believes power corrupts (John Dalberg-Acton, for you history scholars). This highlights Lex’s own Machiavellian beliefs, his own maniacal talents, and quite a bit of transference on what Superman (and Batman) are like. [More on that later.]

It’s enough that Batman’s vigilanteism and Superman’s straightforward “farm boy” ideals are at odds, but to have Lex manipulate them closer toward confrontation, that shows the grayscale world that we live in. Is Batman wrong to brand the criminals he catches with the bat? Is Superman right in his worldwide ‘justice is served’ decision-making? Does the government have a right to police either or both (hello, Captain America: Civil War)? Ironically, all three of these men believe they’re doing what’s right, even while their ideology separates them… or draws them together.

Thankfully, the film makes us believe that there are more questions than answers left, setting up more to come – and plenty of discussion. So, with that, I will close this first portion of my review. Simply put, Batman v Superman: Dawn of Justice is deeper than the casual fans will expect from a comic book-inspired film. It’s done with more of a Mad Max: Fury Road vibe, with a focus on visuals over words, and filled with enough hints to keep the serious fan engaged.

bvsalfred

This Film Has Daddy Issues (Minor Spoilers)

Bruce intones about putting our thoughts and beliefs on something else, and yet, he’s really highlighting how each of the focal three men has daddy issues. Bruce Wayne, who watches his parents die at the hands of Joe Chill, believes the world is about the good and the evil but that people are primarily evil; he thinks that the evil must be destroyed through fear and violence. Clark, who watches his father (Kevin Costner) die heroically, believes the world is good and that it is his responsibility to use his power to fight for good and model it for others. Lex, whose father abused him and gave him the misguided view of reality, sees power as the only way to get what he wants – regardless of the cost to others in life or otherwise.

While Clark still “talks” to his father, in a Snyder variation on the Kryptonite crystals that allow him to speak to Jor-El, Bruce has only the nightmares that provide a look back at his parents’ murderous end — and a strange, apocalyptic future. Lex, well, Lex, doesn’t even have the mental ability to string a paragraph’s worth of sentences together because he gets lost in his own head. He doesn’t know another way than to capture, control, or destroy.

When it comes to the issues of the men and their fathers, I found both Alfred (Jeremy Irons) and Perry White (Lawrence Fishburne) to be underplayed. While in some instances, these two provide moral influences for our two heroes, they are sadly underused. Instead, the balance of the moral integrity and spiritual understanding comes from the women in Clark’s life. Honestly, I walked out of the theater seeing Amy Adams as the spiritual linchpin of the film, reminding Clark of why he was Superman – and urging him to realize that is purpose was ‘divine.’ [On the other hand, Diane Lane’s Martha Kent plays the mother Mary, urging Clark to make the decision that is best for him, stretching the difference between the human and the divine even further.]

What we see in the tug-of-war over Superman is the same thing that Snyder would say about his art: art and the individual are their own, but we (the audience/media/society) try to make them in our image. It’s not unlike the way that Jesus was received by the masses, as a “messiah” who would overthrow Rome, or as any culture making idols to represent a higher power. Ultimately, Superman is who he is with no apology – even at a price.

bvsww

If you didn’t know Wonder Woman was in the film, than you apparently didn’t watch the trailer or see any promotional information. As a huge fan of Lynda Carter’s Wonder Woman, I doubted Gal Gadot’s ability to pull of her role. The Israeli actress pulled off her position with gravitas – and subtle humor and sexuality that made the scenes ripple with electricity and promise for what will come.

And now, for the third act…

The Making of Legends (Major Spoilers & Easter Eggs)

bvsjoker

First, there’s the death of Robin, or at least the absence of the character in the older, more established Bruce Wayne/Batman’s state as played by Affleck. While there has been some buzz about the gravestone of Richard Grayson in the background of the cemetery scene, we know that Dick Grayson AKA (first) Robin AKA Nightwing would not have been a contemporary of Martha and Thomas Wayne, Bruce’s parents. So the relationship would have been different than that of dead circus performers and their adoptive son. [Snyder’s toying with the known canon includes changing the theater marquee backlighting the Waynes’ murder from The Mark of Zorro to Excalibur… for no apparent reason.] Instead, the suit in the Batcave covered by Joker’s graffiti would refer to the second Robin, Jason Todd. But is the continuity of Suicide Squad going to allow us a prequel with Jared Leto’s Joker versus Affleck’s Batman, given Affleck’s one-liner about having faced jokers in suits before?

bvsdoomsday

Lex’s mashup of Zod and Doomsday is … creative. In much the same way that Marvel is using Bucky’s Winter Soldier as the precipitation for Civil War instead of some rogue C-level superheroes as in the comics, Snyder allows Lex to create Doomsday out of Zod’s DNA in a Lazarus pool-esque ‘resurrection.’ This allows for the entrance of other … resurrections… but also makes for a singular sacrifice of Superman that echoes Iron Man’s in Avengers and Superman’s… everywhere. This also sets up the ending that no casual fan will see coming — ripped straight from Dan Jurgens’ 1982 storyline where the impossibly powerful, godlike Superman actually dies.

While Man of Steel (and even Superman Returns) seemed intent on ripping the Christ-like imagery out of the modern day Superman, from making him kill Zod to portraying him (unfairly) as an absentee father, Dawn of Justice shows his sacrificial love, with a twist. Instead of dying for the world, Superman tells Lois that she’s his world, making his salvation act one that is personal, not communal. It’s heroic, but it’s not ‘for everyone.’ Somehow, Lex has caused Superman to re-see the world in a more jaded, cynical way, even as Superman’s act opens up Batman/Bruce Wayne to see the need for heroes.

In the end, Superman’s death is portrayed a la pietà, as Batman hands down the broken body of Jesus, er, Superman to the arms of Mary AKA Lois. Wonder Woman looks on, forming a sort of holy trinity of sorts, with a cross superimposed in the background. In the same scene where the monolithic statue of Superman, celebrated for defeating Zod, is destroyed, Superman is himself destroyed in the shadow of a cross. How’s that for establishing some metaphorical crossover?

bvslast

Speaking of crossovers… rather than adapting Batman as the devious and conniving creator of the superhero files (see Mark Waid’s JLA: Tower of Babel story arc), Snyder’s major plot point has Prince stealing a file that Batman will later decrypt. This reveals the first footage of would-be Justice Leaguers like Aquaman (Jason Momoa), Cyborg (Ray Fisher), and The Flash (Ezra Miller), prepping us for 2017 – and a fight with … Darkseid?

With the foreboding dreams, the flying winged minions, and the imprinted symbol in the remains of Gotham, we don’t even need Lex to cackle, “He’s coming!” We know he is, like we know winter is coming, or like Bruce has that itch in his gut that warns him heroes are needed, or that … again, Marvel will beat DC to the punch by unveiling Marvel’s Darkseid doppleganger, Apocalypse, in May.

The truth is, while Marvel has the X-men to battle graphic evil, they leave the witty, sometimes benign villains to the Avengers. Thankfully, while Darkseid believes himself to be god, Dawn of Justice leaves us reveling in the fact that heroes live sacrificially and inspire others. Better yet, this Holy Week, we realize that the truly holy can’t be held down, that no grave can hold them.

Christ figures rise.

bvsdarkseid

 

Filed Under: Current Events, Editorial, Featured, Film, Reviews Tagged With: Alfred, Aquaman, Batman, Ben Affleck, Christ, Cyborg, Darkseid, Ezra Miller, Gal Gadot, Henry Cavill, Jason Momoa, Jeremy Irons, Lex Luthor, Ray Fisher, Superman, The Flash, Wonder Woman, Zack Snyder

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