Skip to main content

Justice League -- a review


It’s not as terrible as some will have you think. It’s not great, either; far from it. Justice League is one of those films with a troubled production where the behind the scenes story is far more interesting than what happens onscreen. Justice League, as originally directed by Zack Snyder was to be the third installment in a superhero film series that began with Man Of Steel and continued onward with Batman Vs. Superman: Dawn Of Justice.

But when Snyder left JL (for reasons I don’t wish to dredge up here), Joss Whedon, the writer/director of such TV series as Buffy The Vampire Slayer and Firefly, as well as the first two Avengers movies for Marvel, stepped in to do reshoots on JL. The edict from the studio was to make the tone of the film lighter than the darker take that Snyder had instilled in BvS. And the result is uneven, at best. Granted, Snyder’s take on Superman might have been too dark, and his Batman in BvS was portrayed as being an outright psychopath, but he did know how to direct action sequences (the scene with Batman taking on the Russian gangsters in BvS is outstanding). Plus, Snyder is a genius at handling extensive CGI and making it look spectacular.



But while the cobbled together Frankenstein version of Justice League still has Snyder’s impressive action scenes on display, the CGI is just plain terrible in some places. Most notably in the main villain, Steppenwolf--a world-conquering, god-like deity who has come to claim Earth as his next prize. The CG-ed Steppenwolf looks so fake that he appears as if he had stepped right out of a video game. Aside from their CG look, the villains overall seem very bland and uninteresting; their attempt to subjugate the Earth feels very weak and unimaginative, their motivations unclear. And having the main climatic battle take place in a Chernobyl-like ghost town that’s mostly abandoned gives the proceedings a very lackluster feel overall.

However, there are moments when the film really sings. One of which is when Henry Cavill’s Superman is back from his dirt nap and--apparently confused at having been brought back to life--starts fighting the members of the Justice League. While Superman battles the other Leaguers, the Flash decides to speed around in an attempt to outflank the Man of Steel. But Superman, in the midst of fighting, slowly turns his head to look right at the Scarlet Speedster in a moment of sheer comic book cinema majesty.



The heroes are really among the brightest spots in the film, with Ezra Miller bringing a younger, rougher-around-the-edges Flash to life with plenty of welcome humor, and Ray Fisher is very good as Cyborg, instilling in his character a much-needed sturdy presence. Gal Godot, fresh off of her triumphant turn as Wonder Woman in her own movie, livens up every scene she’s in, as can be expected. And Ben Affleck is even pretty good as Batman (he’s growing on me). Jason Momoa does what he can with Aquaman, who’s re-imagined here as a cool surfer dude. It works; Momoa’s forceful charisma makes you like Aquaman, but--like most of the characters in the film--he’s not given much development. Still, Momoa’s performance makes me look forward to seeing Aquaman’s standalone movie.


Henry Cavill’s Superman is lighter (even his costume is brighter), and he smiles more. Yet his return didn’t feel like it was earned, thanks to the rushed feeling to the story. This is a shame, because a movie like this should be epic. A story that brings together Earth’s mightiest heroes in its darkest hour needs time to flesh out the characters, to properly set up the situation. But thanks to another edict from Warner Brothers, which was that the film must be only two hours, Justice League severely suffers from its too-short run time.


There are people petitioning Warner Brothers to release Zack Snyder’s version of Justice League. I’ve got mixed feelings about this. As much as I didn’t care for his dour version of the DC superheroes, I have to admit that, after having seen the mess that was eventually rushed out to theaters, I wouldn’t mind seeing Snyder’s version now, just to see his take on it. Say what you want about the tone of his DC films, Snyder still managed to make both Man of Steel and BvS feel like these epic stories that gave the viewer the sensation they were a witness to history in the making (which is what Justice League should have felt like, but didn’t).



I have been a fan of the DC comics superheroes since I was a kid, and I have wanted to see a Justice League movie since then. But after seeing this misbegotten attempt, I’m ready to move on. Besides, the CW Superhero shows--The Flash, Arrow, Legends of Tomorrow, and Supergirl--had their second crossover event last fall, where they fought their alter-egos from a Nazi planet, and it contained all of the excitement and fun that I was looking for in Justice League. Maybe the movie division of Warner Brothers might want to seek advice from their TV brethren on how to do superhero stories properly. --SF

Comments

Popular posts from this blog

Explorer From Another World

It’s Friday night during the summer in Beutter county, an idyllic farming community in Indiana, and the good folks are settling in for what should be another humdinger of an evening. Until their plans are shattered by the arrival of an Explorer From Another World! This turns out to be an alien (Gemma Sterling) who starts savagely killing people from the moment it disembarks from its flying saucer. Local kids Eddie (Colin McCorquodale), Marybeth (Sage Marchand) and Culpepper (Nolan Gay) are planning on seeing a movie, but it looks like they’ll be battling for the very survival of the human race instead! Explorer From Another World is a wonderfully done throwback to the B-movies of the 1950s and 1960s. Ably directed by Woody Edwards (who gives himself a small cameo as Hank in the sheriff’s jail cell), the film is forty five minutes long, but manages to tell its torrid but funny story very effectively in the time allotted. And the short running time tracks when you...

Presence -- A Review

Presence, the latest film from director Steven Soderbergh ( Sex, Lies and Videotape, Out Of Sight ), is based on his real life experiences with what he believes is a ghost in his own home. Inspired by his spectral roommate, Soderbergh wrote a few pages of a script, which he handed to David Koepp ( Panic Room, Jurassic Park ), who finished it. The film was shot in a house in Crandall, New Jersey, over just eleven days in September 2023 (they received an interim SAG-AFTRA agreement during the strike that year). Soderbergh shot this in the ‘found footage’ style, using only one camera, with himself as the camera operator. The result is that Presence is a haunted house story that is told from the point of view of the ghost. And it’s marvelous. But instead of the typical ’found footage’ movie, which is supposed to be culled together from film or video that is literally found after the fact, we see everything that’s happening in this house through the ‘eye...

Cleaner -- a review

In Cleaner Daisy Ridley ( Star Wars: The Force Awakens ) stars as Joanna “Joey” Locke, a window cleaner at a swanky London office building that serves as the headquarters for an energy company. Joey becomes late for work when she’s forced to take her autistic brother Michael (Matthew Tuck) to her job with her. Because of her lateness, her nimrod of a manager makes Joey work an hour late, well into the evening. Joey reluctantly keeps cleaning windows of bird splatter in the darkness, but eventually bird droppings wind up being the least of her problems. A team of terrorists arrive at a party that’s being held at the office for the energy company’s share holders. Disguised as performers, the terrorists seize the energy company’s board members as hostages, while knocking everybody else out with gas. Joey, still working on the windows outside, sees all of this and promptly goes into action. Because, as the film has earlier established, Joey is a former Britis...