







The best aspect of this film is the theme song by Leonard Cohen, sung by Sigrid. The film is like a child's comic with cardboard cutout characters and a banal plot line. The target age group appears to be 6 -10 year olds. The film would have been better as an animated production. The regeneration of superman was silly. In contrast the film "Wonderwoman" was much better even if a little far fetched.
I think Gal Gadot was wasted in Justice league. The batman character was thrown around in such an extreme way that any normal human body would be shredded even if encased in body armour. The real problem with Justice League is that it did not make it's mind up whether to be a pure childrens' comic book romp or a more serious film appealing to a wider age group.
The film utimately showcases the more unbelievable side of CGI and as such can only appeal to uncritical children.
How is Zack Synder still making DC Comics films? The actors all look the part, but the CGI action and is eye-rollingly boring and unengaging. A little bit of banter is mixed with a dull as dishwater storyline, that made literally pray for Christopher Nolan and Bale to come back. Doesn't matter if Bale is too old now, he's a better Batman, let's have him back. But then again, maybe I'm missing a trick. The audience they're aiming for is obviously kids or adults with the minds of small children, so by that measure I suppose this is serviceable.
Version I watched: UK cinema release (2D)
Actors: 6/10
Plot/script: 5/10
Photography/visual style: 6/10
Music/score: 6/10
Overall: 6/10
I'm a comics fan, so I was always going to watch it, but the record coming up to it before was not great, and what followed was even worse. This film got a terrible reception too, so bad that director Zack Snyder was given it back to make again, and reportedly rather better when it was released four years later (although I haven't seen it).
The funny thing, though, is that I didn't find this film that bad. I found myself rather liking some of the characters, particularly The Flash and Aquaman, and being interested in their character arcs. Jason Momoa and Gal Gadot still have screen presence and charisma, and the likes of Jeremy Irons are always enjoyable to see on screen. I think the criticisms are absolutely fair that it tries to pack too much in, with many main characters - partly a necessary factor of the teamup premise - and even more supporting characters who have to get their screen time, but the overall film didn't feel long to me, which is always a good sign. I was never bored. A few too many 'zingers' in the dialogue, a dumb name for the villain (Steppenwolf? Really?) but on the whole, it was... alright.
It helps that they seem to have restrained themselves a bit on the power levels of the characters involved. Man of Steel had cities being levelled, with an assumed death toll in the thousands, but this time they toned it down, so the destruction is limited to, well, just a town or two. Danny Elfman's score is also toned down, it seemed to me, eschewing some of his usual orchestral bombast and whimsy.
There has been a weird number of dramas and scandals surrounding the film's cast and crew ever since, though. The tragedy with Snyder's daughter, allegations about screenwriter and substitute director Joss Whedon absolutely annihilating his reputation as a feminist derling of the liberal left, Ezra Miller going spectacularly off the rails with criminal results, Amber Heard's vicious divorce proceedings with Johnny Depp, and even Gal Gadot weighing in unprompted on political situations in her native Israel then doubling down... All these proceeded to torpedo - or at least deal hefty damage to the prospects of - the Flash, Aquaman and Wonder Woman films that followed in the attempted 'DC Extended Universe'. And I haven't even mentioned Warner Bros' financial shenanigans that saw an essentially completed Batgirl movie canned forever.
Had Justice League been a palpable hit, it might have lifted the films that followed and had DC Comics' movie franchise well and truly off the ground. As it turned out, it was a somewhat disappointing mess, re-legislated over and over again online by an increasingly toxic core of "Snyder Knights" (and bizarrely, they voluntarily called themselves this!) and dogged by an endless succession of news stories that were not exactly it's fault but didn't help, until everyone else was fed up with it. Those 'Snyder Knights' still want to "Restore the SnyderVerse", and attack anyone who wants to move on under James Gunn, but it's not going to happen.
'Okay' it turns out, was not good enough.
For my full review, see my independent weblog on Blogspot, Cinema Inferno.
Similar to Batman v. Superman, Justice League is a duel of clashing forces. I’m not talking about the superheroes, but rather the battle between Zack Snyder and Joss Whedon, two screenwriters fighting for control of a DC Comics ensemble picture. Snyder wants to continue with the dark and blunt themes he established in Batman v. Superman, while Whedon intends to inject a campy sense of superhero silliness that made his vision of Marvel’s The Avengers such a success. They clash significantly as the Justice League film stumbles and sputters into a troubled and somewhat pleasing adaptation of Super Friends, even if that wasn’t what the aim of the film was. If there was an aim at all.
Snyder’s vision of forcing DC Comics content into his films has remained intact. Only a few minutes into the movie, Batman (Ben Affleck) is duking it out with a Parademon and tracking clues about the mysterious MacGuffins of the otherworldly Motherboxes. Sure, we’ve seen glimpses of them in Batman v. Superman, but could we at least catch our breath with a bit of introduction? No time! The film’s villain Steppenwolf is already here, arriving in Boomtubes with more Parademons. What are Boomtubes? There’s no time to explain that! If he collects all three boxes and combines them, he’ll turn the planet into an apocalyptic wasteland for the coming of the New Gods. Who are the New Gods? That’s a time-wasting question for a two-hour movie!
The Justice League needs to be assembled and quickly. Barry Allen (Ezra Miller) has the super speed to become The Flash and the autistic need for friends to join without a shred of hesitation. Victor Stone (Ray Fisher) already has the mostly-robotic body to become Cyborg and has limited time to come to terms with his new body and an unknown digital language. Arthur Curry (Jason Momoa) is somewhat reluctant to humanity’s plight to join up as Aquaman but seems pretty easy to win over with his frat-boy eccentricities for battle. Wonder Woman (Gal Gadot), having already had her film introduction, has been primed for centuries and more than ready to join the League, spending her spare time cleaning art and foiling terrorists.
For rushing so quickly through many of the introductions, a lot of scenes lack the charismatic boost the Avengers films had from patiently building a superhero franchise. The movie is in such a rush for the big team-up that it blazes through cliches of heard-that-before speeches and silly quips ripped straight out of the Whedon superhero writing handbook. This goes double for the bland and uninteresting villain of Steppenwolf, a CGI creation of melty skin, horned armor and end-of-the-world babble so dull I’m surprised the heroes didn’t call him out for being such a snooze to hear.
Where the film does work, surprisingly, is in its spirited zip for the storytelling and the abundant nuggets of teamwork. Consider the moment when the League realizes they’re going to need Superman for this big fight and need to revive him. How they do this, I will not spoil, but it’s such a ludicrous idea that it feels true to the weird logic of the comic books. Once Superman (Henry Cavill) finally joins the League, the film eventually starts to find its groove, as if the Man of Steel has finally awoken from his downer coma and become the sunnier superhero we’ve been longing for. There’s a brilliant moment during the climax where Superman and Flash take to the streets of a ravaged European village to save civilians; The Flash rushes a family-filled car to safety, only to see Superman in the distance lugging an apartment’s worth. A genuine smile came across my face with the inclusion of their bet to see who is the fastest in a scene that finally earns the joy of its quipping. And when the time comes to battle Steppenwolf, there’s a twinge of giddiness I felt for watching The Flash zip around Steppenwolf while Superman uses his freeze breath to disable the villain and Wonder Woman picking up her sword to slash his weapon to pieces.
The DCEU still hasn’t found the firm footing that was more present in Wonder Woman, but there’s some hope for the future of the Justice League. It’s still a bit clunky with character and dry with villain schemes, but it’s still pretty impressive to watch this franchise slowly pull itself out of mediocrity, edging closer to the Justice League movie I wanted. Just look at how Snyder’s handling of hero climaxes has improved: he’s moved on from hundreds of civilians being murdered in a city to the lame excuse of everyone evacuating a town, to now having heroes protect civilians from harm. It took him three whole movies, but he finally figured it out; superheroes need to be heroic and not just punch the bad guy really hard.