Zack Snyder's Justice League Movie Review: More Coherent than the Original, but Suffers from some Problems

"Zack Snyder's Justice League" film was an incredible journey that lasted almost four years. In fact, when Zack Snyder left the direction of the DCEU crossover in 2017, Warner Bros handed over the post-production and additional shots of the film to Joss Whedon, changing the essence, style, and content of the project at the heart. In purely cinematic terms, the film was not hailed as a success but was not entirely disappointed by critics, especially impressed by the first big-screen encounter of the main DC superheroes, also looking at Flash, Cyborg, and Aquaman. It was the fans, above all, who complained about a profound lack of taste, an evident reworking of the original material, an almost radical change of tone and a simply miserable duration, not even two hours to introduce in live-action what should have been the League of the Justice, Marvel Avengers' direct label rival.

The crossover was therefore not very popular, DC Films completely changed the plans of the cinematic future, restructured the top management of the company due to the commercial flop and for some time the Justice League did not want to talk about it anymore. Different speech for fans, however, who following via social media Snyder, recovered from the mourning of his daughter Autumn and eager to share his vision of the project, began clamoring to Warner Bros executives to publish what they called Snyder's Cut. making the hashtag #ReleasetheSnyderCut go viral.

Driven by this endorsement of the fans, invigorated in the soul, the author took the cause to heart, pleading it on his own initiative with the continuous publication of unpublished material, arguing "the existence of a director's cut of the film" and the "total difference from the movie version ". Important endorsements arrived and the actors directly concerned such as Ben Affleck or Jason Momoa importantly supported the director, re-sharing the hashtag on social networks several times. 

In the end, also thanks to the launch of HBO Max supporting what had truly become a virtual movement for the publication of Snyder's Cut. Last May 2020 Warner Bros gave the green light to the project allowing Snyder to complete his editing. with the ability to add unreleased and never-shot scenes thanks to an additional $ 70 million budget. Almost four years after the disastrous impact of the DC crossover, Zack Snyder's Justice League is finally here to tell us one thing 'that the author's vision is sacred'.

Six Chapters + One

After the necessary production excursus, let's go into the details of this unique and also rare product, given that not every day a director fired from a studio has the possibility of putting his own title back in truth no more than him. As a highly anticipated event, we won't reveal anything too detailed about the film's many additional sequences, immediately giving you an essential guideline Zack Snyder's Justice League is a much more complete, coherent, epic, and spectacular title than the movie version completed by Joss Whedon, and demonstrates how the author of Avengers and the old Warner production have in truth remodeled without conscience, taste or foresight a product in all respects son of the inspiration of its original director. 

The film version of the Justice League thus appears as a sort of attempted damnatio memoriae of Snyder's style. At the time considered an essential problem of the poor success of DC Films productions, being essentially under the direct supervision of him and that of Geoff Johns. From start to finish, however, you immediately notice how Snyder's Justice League was designed to be one with the previous DC films he directed, so much so that the focus on Superman's death is essential right from the start. with the extraordinary opening credits - which show the end of the Man of Steel and at the same time the awakening of the Mother Boxes.

The opening sequence alone gives the film a pathos and an epic sense completely different from the nonexistent ones reworked by Whedon, and there is a strong touch of Snyder, the will to build a story that would logically continue what started with Batman v Superman. , in a layered way, dedicated to the characters and their encounter, to the concept of positive Union, for good, against that of negative Union, embodied by the evil plan of Steppenwolf, which finally finds meaning and truthfulness.

The film takes on the characteristics of a well-reasoned path rather than appearing as a collage of random or almost random sequences, and this not only thanks to the shamelessly and happily Snyderian editing (with well-known rhythms, with its excessive slow motion, its beautiful shots) but also to the subdivision into chapters, which give a precise and essential construct to the formation of the Justice League and give a different character to the psychological-emotional sector of the protagonists. It is also evident that it was actually Whedon's hand that made Batman more protagonist than others, even more ironic.

Here, under Snyder's lens, he remains darker, gruffer, with the only jokes that are those that did not appear out of place at the cinema (think of the one after the clash with Superman, for example).

The tone is as it should be different from a Marvel product. more austere and heavy accompanying the director's cinematic intentions who has never hidden a vision of superheroes much closer to Alan Moore's Watchmen than to an Iron Man or a Spider-Man. Thus, in six chapters + one, Zack Snyder puts his Justice League back on its feet, repositions the threads of the story, and revises the visual impact of the product which fortunately returns to the original criteria with a photograph that is more off and in line with the known touch. of the director (the third and final act is the most profitable one), sees the presence of more violent and dynamic action sequences, a Steppenwolf with a magnificent look, and the addition of some pieces of pure guilty pleasure and fan service from part of the author.

It shines, but not everything is gold...

Net of an operation that we can say is actually worth existing. Even if only to forget a recent cinematic past that is not exactly brilliant for DC Films. Zack Snyder's Justice League is not exempt from structural, directing, and even scope. The four hours of duration are fully justified by the need to introduce the six protagonists and the villain. but it is undeniable that even Snyder is unable to achieve a perfect or optimal balance between the parties, and this also in terms of action.

These are thoughtful choices upstream, yes, but the focus - for example - on Flash is not always better than addition by Whedon (like the Batman scene at the beginning). It is quite clear an expansion of the duration reasoned in particular on the search for the right screen time of each character and in this sense to gain are above all Cyborg (who has a scene in Sherlock's "mental palace" really not bad) and Aquaman the whose background was properly explained before the in-depth study which then took place in James Wan's stand-alone film.

The impact of Flash changes above all and has an essential role in the third act (via the Russian family in danger!) But the scene of the rescue of Iris West is still fascinating. Even if really an end in itself and inserted in the project obviously looking at the announced solo movie about Lightning Scarlet DC.

On the bad side, Darkseid is present as promised but does not get too many illusions. The villain of the story, conceived as the first act of a possible trilogy and thus remained, is Steppenwolf, even if the overwhelming power of the Tyrant of Apokolips is made clear and they are introduced notions dear to the character created by Jack Kirby, known and loved by comic fans. 

The scene of the attack in the past, however, set during the last alliance for the salvation of the Earth, is something truly spectacular compared to the theatrical version of the crossover. Even in this case, unfortunately, there is a cut commensurate with the need to continue in the future the depending on the enemy, the same that will probably never happen and which, in context, creates a significant problem for post-satisfaction satisfaction vision. As for the Joker, Deathstroke, and the other additions widely anticipated, we will not comment on anything to leave you the taste of surprise, but we can tell you this- if they had not been there, it would not have been a problem.

While suffering from some problems already inherited from the previous version. Zack Snyder's Justice League is a compendium of epic and heroism, son of its author, with a vivid and crystalline vision, with more solid and compact content.

It is one of those events to be seen with curiosity, to talk about, to confront without pride, and try to reason in total honesty. Because yes, despite being "the same", in reality, it is something completely, drastically, essentially different from the film of three and a half years ago. A profound title to be (re) discovered and in which to dive back into with a different mental openness, accepting, unfortunately, intrinsic defects, then new ones deriving from the operation, but still trying to enjoy all the good there is.

Zack Snyder's Justice League is indeed a unique operation that makes sense to exist. The change of tone and focus on the protagonists is drastic and evident, and compared to the film version post-produced by Joss Whedon it is a title with a more marked epic sense of great pathos, with a coherent deepening of the protagonists, tied in double chord with Snyder's previous DC films. 

The style is also different, finally clear and distinctive of the original author, who puts in its place a functional. Dark and intriguing vision reduced to shreds by wicked choices and a terrible event that happened in the director's life. The dedication to his daughter before the credits is in fact moving. It is as if Snyder had chosen to finish something he had started for her, to keep his memory alive and give himself and fans around the world the Justice League. he promised, not necessarily the perfect one. And that's fine.

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