Director: Zack Snyder
242 minutes (15) 2021
Warner Bros. 4K Ultra HD
Rating: 10/10
Review by Christopher Geary
Contrary to a well-known and often-quoted designer aesthetic, less is not more. More is actually often much better (unless you’re a weight-watcher on a crash-diet). Quality not quantity, is another highly relevant saying that might help form a thoughtful judgement of something’s value, but twice as much is assuredly going against a minimalist creative ethos. There is no escaping from a confrontational approach to any comparison between this version, the definitive edition of Snyder’s unfinished or abandoned picture, and the earlier movie ‘completed’ (supposedly) by Joss Whedon as contracted writer-director for hire. Whedon’s mercenary work on the essentially disappointing two-hour film Justice League (2017) could now be seen as Hollywood’s longest-ever trailer, a rather simplistic prelude for this magnificent new classic of superheroic movies. The most clear precedent for this kind of re-building a previously finished and released movie is (also from Warner Bros), Superman II: The Richard Donner Cut (2006). Credited to Donner’s replacement, Richard Lester, Superman II was released in 1980, and its original director’s cut remained a fandom daydream, until the makers of Bryan Singer’s tribute movie Superman Returns found unused footage by Donner in the studio archives. Well, at least, for Justice League, we didn’t have to wait so long this time.
Zack Snyder’s Justice League picks up plot-threads from the climactic sequence of Batman v Superman: Dawn Of Justice (2016), when the dying Superman’s yell echoes round the globe. Much more than another modestly enhanced, or just expanded edition (as seen in versions of Singer’s X-Men movies), this four-hour director’s cut unfolds into an expansive epic that almost outgrows the whole superheroes genre, never mind the DC films’ canon. Wrapped in the media’s cultural peak of science fiction, this supreme example of modern American mythology fields an unholy Unity of three mothers (in magical boxes), bringing apocalypse from the stars. Only the second coming of a space messiah, as crisis prompts resurrection, renews 21st century hope for the Age of Heroes. The big story-arc that Marvel accomplished for the Avengers in five adventures (including Captain America: Civil War), DC has now done with the Justice League in just two movies.
This ‘Snyder cut’ includes clever segues, linking different scenes, as melancholy becomes a thing of universal experience, before a progressive resurgence of trust spins a society’s grief into a state where six meta-human outsiders might become civilisation’s defenders. ZSJL delivers on the promise of Man Of Steel and BVS by giving fans a greatly improved, captivating drama with vastly sophisticated sci-fi action chaptered for up-market appeal. More than another great super-team origin, the movie ushers genre showmanship into an emotionally resonant exercise of group dynamics and story-telling excellence. It’s broadly independent of pop-cult references, and other typically mediocre concerns, like Whedon’s colourful lighting set-ups, blatantly fetishistic sexism, and hyper-masculine fights, lacking a genuine style or poetic grace. Whedonisms of light-hearted and frivolous wit, dialogues often based on quips, and in-jokes, are weeded out, happily replaced with fresh lines that fully respect all characterisations with an in-depth veracity, instead of casually poking fun at DC’s premier line-up of thoroughly modernised heroes. It must be noted, though, that butler Alfred’s (entirely welcome) sarcasm, always at the expense of Bruce Wayne’s ego, is assuredly more prevalent, and effectively deflating, here.
Although lots of scenes remain the same, significant editing, during the movie’s renewed post-production phase, means that even already familiar elements are freshly presented with gritty vigour and surprisingly richer ambition. The primary villain Steppenwolf is very much a case in point. Previously, the role relied on an actor’s distinctive voice to provide the obvious animations with a suitably life-like presence, but here this alien character’s portrayal depends far more on superior visual effects, including a constantly twitching ‘active’-armour suit. Many pivotal sequences are revised from Whedon’s frequently-contrived effort, and this work eliminates any superficial and irrational twists, to embrace convincing subtlety in characterisations, with responses to tragedy that embody objectives more positive than any form of vengeance.
Now suitably frightening, death-cult terrorists in the Old Bailey are a grim foreshadowing of alien menace. Scenes that looked quite random choices in the earlier ‘Josstice League’ are now fully matured, and alive with a purpose, seemingly logical, or perhaps inevitable considering all the forces at work, connecting events, agendas, or often fateful decisions. The meeting of Barry Allen (alias, the Flash), and Iris West, during a car crash in a slow-motion sequence is elevated for wonderful visual poetry here by romantic ballad Song To The Siren, a well-chosen cover-version by British singer Rose Betts. If it’s remembered in years to come, for nothing else, ZSJL deserves critical attention for breathing astonishing new artistry into the cinematic cliché of love at first sight. A brief, yet sublime, encounter it’s one of those very rare but iconic combinations of images and music with spellbinding affect - a bewitching 'pop-video' experience that’s almost certain to link this movie to that song, forever.
Spectacular
effects and exceptional super-stunts accumulate into dazzling thrills. A vastly
improved colour palette is only one of the upgrades deployed here with careful
reverence for world-building elements and the back-story developments of varied
characters. Of course, ZSJL also
benefits from the hindsight of knowing what worked, flawlessly, or better than usual, in Avengers movies, Infinity War and Endgame, and so wounds are bloody here, and decapitation is a final
solution. Despite his robotic appearance, the troubled hero Cyborg,
short-changed as a newly-minted character by the 2017 version, is revealed as being
far closer in aptitude or philosophy to Marvel’s android the Vision, so he’s not DC’s answer to hip genius Iron Man.
In several important moments, Darkseid appears as a monstrous being rather ghastly in aspect, and ultimately more menacing than overly-talkative Thanos in Avengers movies. Instead of being over too quickly, now the united League’s final battle is an extraordinary feat of cosmic justice. Its impact on the DC universe feels profound and looks awesome. The worthwhile multi-part epilogue offers plenty of scope for another sequel, although at time of writing, it seems unlikely. Perhaps if this movie proves hugely successful enough, the producers will think again. Like a 'Change Machine' in human form, Zack Snyder acquits his grandiose ambitions with tremendous ability. This UHD edition spans two discs with a four-chapter block (totalling 142 minutes), and two closing chapters on a second disc (adding 100 minutes). Disc one includes featurette extra: Road To Justice League (24 minutes).
