Daily Archives: March 21, 2021
Zack Snyder had a unique situation that many filmmakers would never get close to fulfilling. He departed the 2017 Justice League movie in the wake of a family tragedy, Joss Whedon was hired to direct and rewrite extensive reshoots that totaled an estimated additional $30 million dollars, and the world was given the strange amalgamation of two different filmmakers, along with the nightmare-inducing CGI baby lip to replace actor Henry Cavill’s mustache. The 2017 theatrical release of Justice League was meant to be a significant milestone for the DCU, launching an all-star assembly of superheroes and setting up future solo adventures and franchises. It was meant to be a major kickoff and it was simply a major shrug. The general public was indifferent to the 2017 League, and it seems like the DC brass is positioning for a cinematic universe do-over, retaining the elements they liked (Jason Momoa, Gal Gadot) and jettisoning the other pieces to start anew. In the ensuing years, fans have been petitioning for the fabled “Snyder Cut,” a theoretical version of Justice League that was closer to Snyder’s original artistic vision before the studio intervention and interloping of Whedon. It became a joke on social media and then one day it became real. Warner executives, seeing opportunity with the rabid fanbase, decided to give Snyder an additional $70 million to finish his version of Justice League. It would be an exclusive to their new streaming platform, HBO MAX, and Snyder could complete his version without artistic compromise. The resulting four-hour version, titled Zack Snyder’s Justice League, is less a movie than a mini-series, and a rare chance for a director to complete the story they wanted to tell without artistic compromise. After having watched the full four hours, along with re-watching the 2017 version again for comparison, The Snyder Cut just feels like the original version only longer. I would actually advise people that if they haven’t watched either Justice League to simply catch the 2017 version. At least its mediocrity is half your time investment.
Once again, months (?) after the death of Superman (Cavill), Bruce Wayne (Ben Affleck) is traveling the world and recruiting a very specific group of job candidates. He needs serious help to combat an oncoming alien adversary, Steppenwolf (voiced by Cirian Hinds). The cosmic Big Bad is looking for three special boxes, a.k.a. mother boxes, to destroy the world and make way for his master, Darkseid. Wonder Woman (Gal Gadot) helps Batman convince the half-man/half-machine hybrid Cyborg (Ray Fisher), underwater dweller Aquaman (Jason Momoa), and hyperactive speedster Flash (Ezra Miller) to form a league of sorts to thwart Steppenwolf.
I think it’s unfair to judge the 2017 film to the Snyder Cut as a movie simply because this version never would have been released in theaters. No studio would have released a four-hour version. The two edicts that Whedon was given by the studio when coming aboard the project was that it could not be over two hours and to lighten it up. Imagine what the 2021 Snyder Cut would look like if Snyder was then tasked to cut it down to a more manageable two-hour running length. I predict many of the same scenes being eliminated or dramatically trimmed down. That’s the main takeaway from the Snyder Cut, that there is more room for everything, and quite often too much room. I swear a full hour of this movie might be ponderous slow-motion sequences. Plot-wise, Zack Snyder’s Justice League is pretty close to what was released in theaters in 2017. The action sequences are extended longer (Steppenwolf’s attack on the Amazons has increased from six minutes to a whopping twelve minutes) but I don’t know if they’re dramatically improved. Instead of two punches there’s four; instead of one chase, there’s two. It’s that kind of stuff, filling out the sequences but not really elaborating on them in an exciting fashion that reorients the moment. I liked some additions, like the inclusion of blood during the underwater Atlantis fight because it added a neat visual flair, but the added action is often obscured by visual decisions that dis-empower the experience (more on that later). I found myself growing restless with the movie. All that added time allows some sequences and plot beats to breathe better, but it also allows Snyder to meander to his greater indulgence (more on that later as well, notably on the multiple epilogues). The four hours feel like Snyder’s kitchen sink approach, and with the benefit of years of hindsight from the critical and fan reception of the 2017 version, he’s able to spend tens of millions to correct mistakes and improve a flawed film.
I hate how this movie looks for multiple reasons. The most obvious difference is that the aspect ratio has been altered to a 4:3 ratio more reminiscent of pre-widescreen television. Why is this the case? Snyder has said he cropped his movie to this boxy format so that it could be played on IMAX screens. That’s fine, but why crop your movie now months if not possible years before it will ever play on IMAX screens? When it comes time to adjust for the IMAX screen, adjust then. Why must every viewer see this limited version now on their widescreen televisions at home? It’s just so bizarre to me. It would be like if Quentin Tarantino reasoned that his movies will eventually play on airplanes, so he better get ready and cut back his widescreen into a flat, pan-and-scan mode, and he might as well include alternate takes and scenes to cover for those that would be deemed too profane or intense for the all-ages captive audience of an airplane, and then that version was the one he released to all audiences and we were stuck with it. Snyder had millions of dollars to reshoot his epic and he lopped off the edges, meaning you’re getting more movie but also less (at least the footage predating the new reshoots) in every second because of the framing. The grandeur of the superhero saga is also extremely hampered by the drab color palette. Snyder has always preferred muted colors to his movies but his Justice League drains all life and vibrancy. Everything is literal shades of grey. Color is not allowed to exist in this universe. A sunset is almost comical. Apparently, there’s going to be an official black-and-white version but we’re already practically there. Some could argue the oppressive grey is meant to evoke the grief and heaviness of the picture, and I’ll give you some leeway with that, but the drab colors also nullify the visuals. It’s simply harder to see everything that’s happening even during the daytime, and then you tack on the ugly CGI that makes everything look like a fuzzy video game. For a movie that has cost potentially over $350 million dollars combined, Justice League looks so phony. Maybe that’s part of Snyder’s overall stylized look, he’s never really been one to visually ground his operatic action spectacles, but I feel like the aspect ratio and color palate just make it worse. For those four hours, this is often a very visually unappealing movie to watch.
With the added time, there are definite benefits and characters that are lifted by the extra attention. Chief among them is Cyborg, a character that felt like a Swiss army knife in the original who was just there to perform whatever techno jazz the movie required at a moment’s notice. With the Snyder Cut, the character becomes more engaging and given a fuller arc relating to the relationship between father and son. The father’s placement in the story actually matters and Cyborg has more of a personal journey coming to terms with his new abilities. There is a back-story with his frayed relationship with his father, his accident that caused him to become the creature he is, and a reoccurring theme of a son blaming his father and the father trying to reconnect with the son he refused to part with. I still think Cyborg ranks low on the list of superheroes, but the additional scenes give the character more weight, more tragedy, and more intrigue. Another added benefit is that Steppenwolf’s motivation is improved as well as his look. He’s now outfitted with a herring-bone armor that twitches over his body. It’s a more intimidating look than what he had going on in 2017. I also appreciated that he now has more motivation other than “conquer the universe” because now it’s “conquer the universe to get back in the good graces of the boss.” Steppenwolf is trying to repay a debt and make amends, and that makes him slightly more interesting than his generic motivation in the original theatrical cut.
However, not all the new editions are as smooth or as helpful. The added time with the rest of the Justice League doesn’t seem to have added anything to their characters. Each one’s arc is more or less the same from the 2017 version, except now we have even more scenes of Wonder Woman wondering whether she needs to get off the sidelines and be more involved (the events of WW84 conflict with this timeline) and Aquaman rejecting his call to adventure from the Atlanians. Neither is a richer portrayal and the scenes are redundant. Take Wonder Woman finding out about Steppenwolf’s attack. In the 2017 version, her mother lights an arrow and it sails into Greek ruins, signaling her daughter, who knows what this means. In the Snyder cut, the arrow still lights the Greek ruins, but now Wonder Woman visits the ruins, she gathers a stick, she wraps a cloth around it, she dips it in kerosene, she lights it on fire, she enters a secret room because of the arrow, she jumps down a cliff, she finds a hidden temple with hieroglyphics warning about Steppenwolf and the mother boxes and Darkseid. Even if you really wanted the end where she sees those hieroglyphic warnings, why did we need these many steps to get there? The opening hostage/bank heist scene is given far more attention, with multiple scenes of hostages being terrorized, and then Wonder Woman literally vaporizes the chief terrorist. A little girl looks at her, likely traumatized for life by the whole experience, and says wistfully, “I want to be like you when I grow up.” She wants to be a murderer? In Snyder’s universe, Superman kills people, Batman kills people, so why not Wonder Woman too?
The revised introduction of Barry Allen is also regrettable. He’s applying for a dog walking job and a car accident occurs and he saves the day, but not before slowing down time in a frustrating manner. This is because he seems to be dawdling while the rest of the world is frozen, which makes the event seem less special. His movements seem less urgent than Quicksilver in the X-Men films when he would perform the same memorable slow-mo set pieces. I disliked that the Flash’s big involvement in the final showdown was literally running around in a circle, a repeat of what he had done prior. Also making the slow-mo save introduction less special is the fact that the Flash picks up a hotdog floating in midair for silly reasons. It’s drawn out with interminable slow-motion and the song choice is baffling, a common theme throughout Snyder’s movies. I think he’s been smarting ever since he painfully paired Leonard Cohen’s “Hallelujah” with a sex scene in 2009’s Watchmen, and now we must al endure similar awkward auditory pairings. Every song inclusion just feels wrong here. As Aquaman is drinking and walking along a pier, in slow motion, we hear “There is a Kingdom” by Nick Cave, and it just doesn’t pair right, especially in contrast with the hard-rocking guitar riffs from The White Stripes in the 2017 version. For good measure, Snyder even includes another “Hallelujah” cover by the end for good measure, as if he’s still fighting this same battle over musical taste.
And then there’s the barrage of epilogues, each the start of a story never to be continued, and it approaches the realm of self-parody (spoilers to follow). We get three endings, the first an extension of the post-credit scene from the 2017 version where Lex Luthor (Jessie Eisenberg) suggests the formation of a Legion of Doom for villains. He even shares with Deathstroke (Joe Manganiello) that Bruce Wayne is Batman. Well, that could be an interesting next step, but we know it’s not to be so it becomes just a teasing preview. The next ending cuts forward in time to the dusty, apocalyptic vision that Batman had in Batman vs. Superman, and he’s got a crew including an older Flash, Meera (Amber Heard, why does she have a British accent now?), and even Jared Leto’s Joker. They’re facing off against a villainous Superman who has been driven mad by the death of Lois Lane (Amy Adams), which is pretty much the plot of the Injustice games. The Joker is antagonizing Batman with some references to killing someone close to the Dark Knight, and this whole sequence amounts to Snyder basically saying, “Hey, here’s where I wanted to go with things but you’ll never see it.” Then there’s a third ending, because the second is revealed to be another dream/vision for Batman, where he meets Martian Manhunter, a character that, other than diehard comic aficionados, no one cares about and has been given any reason to care about. The guy just introduces himself and Batman is like, “Oh, cool,” and that’s the ending Snyder decides to close his four hours with. There is a literal half-hour of epilogues and false endings to finish with and I was exhausted. I owe Peter Jackson an apology.
In my original review of the 2017 Justice League, I wrote, “I think I might have actually preferred Joss Whedon not being involved and simply releasing the full Zack Snyder cut. It would have been stylistically more coherent. Much of the Whedon reshoots do not feel like they are for the better. To be fair, he came in late and this franchise behemoth had already gone too far to fully alter its fate. There are small moments that work but the big moments are what fail. This movie is missing setups, payoffs, and character arcs. It’s missing pathos and emotion. It’s missing memorable action sequences that are exciting and varied. It’s missing basic internal logic. It’s missing a greater relevance.” Some of those issues are resolved with the four-hour Snyder cut and too many others still remain. At the end of the day, this is still just a longer, bloodier version of a mediocre superhero movie, except now we get stuff like Batman saying the F-word, so I guess that’s cool. I have more of an artistic appreciation for what Whedon had to pull off to even wrangle this beast into two hours. I’m happy Snyder was able to fulfill his complete vision and that HBO MAX offered a platform that would provide such a rare opportunity of expensive art unencumbered by studio meddling. I can’t say it’s worth your four hours, nor can I say it’s dramatically better than the 2017 version because whatever benefits it offers are weighed down by the extraneous, the redundancies, and the length. As it stands, I feel I have no choice but to grade Zack Snyder’s Justice League the same as the 2017 Justice League.
Nate’s Grade: C