If we put the film in juxtaposition with the critically battered 2017 film, then it is definitely several folds notched up. However, if we put things in the neutral perspective, then four hours is a slight drag as far as fan service is concerned. Regardless of that, several critics believe that context is the key if we want to dissect Zack Snyder’s version of the Justice League, and some of the facets that left us clueless in the 2017 film make some sense now.
It cannot be denied that “Zack Snyder’s Justice League” does have its artistic flaws and does look out of sorts sometimes, yet the moment you put this 4-hour long tedious (and I am not saying this lightly) journey into the context of preceding DCEU films, every parsed element of the film plays its syntactic part. With his sincere effort, Zack Snyder had tried to put the impetus on the fact that despite the flaws and extremely deep controversies, DCEU deserved a chance.
In short words, Zack Snyder is definitely a better artist than Joss Whedon. And, obviously, it was his vision from the very beginning.
It doesn’t take a Ph.D. to realize that it is a unique moment in pop culture where fans rallied together to bring back a director who had left the film because of the tragic death of his daughter. For him, the decision to return to conclude what he had started was not only a professional nightmare amidst the controversies surrounding the whole franchise, but it was also a profound personal decision.
Nevertheless, it is imperative to point out that DCEU’s kaleidoscopic method of world-building and character development is still jejune and insipid if we are speaking in terms of MCU proportions. The actors certainly haven’t delivered performances of their lives, which is understandable, the subplots really needed a second thought, and somewhere deep down, all the cast and crew have shown desire to compete with Marvel Cinematic Universe, and it has to be one of the most significant flaws of the film. Just glance at the previous successful films of DC, and you would know what I am talking about. Joker, Aquaman, Wonder Woman, and Shazam. While MCU is, in itself, a roller coaster ride, the DC Extended Universe thrives in its uniqueness.
Now, one must also point out the fact that, unlike the 2017 version, Zack Snyder’s film is logically consistent and coheres with all the foreshadowing. The film is coruscating with sporadic intriguing plot elements that have Snyder’s stamp of approval marked all over it. The dark theme, the exaltation of Superman, familiar visual conceits, and Darkseid’s persona lurking in the backdrop make the film at least a one-time watch, if not anything.
Like all superhero films, the fight sequences look ostensible and have been pushed towards a wall of facile, shallow, and inept vanity. Zack Snyder played all his cards, and the movie alluded to the fact that he reached his breaking point in making the wheel move; however, there was something wrong and something missing with the whole fabric of it.
The changes from the 2017 film are visible. The scenes do not look rushed, and the editing looks professional; the shunned-out actor Ray Fisher takes center stage with his Cyborg character, the CGI looks properly used (to say the least), and most importantly, it looks like there was a plan in place. Zack Snyder knew what he was doing.
“Zack Snyder’s Justice League ” does not pretend to be anything more than it really is. A comic book story in its culmination of fan service. Fans got what they wanted for the months of labor they put in for the “ReleaseTheSnyderCut” movement, and it is improbable they would be disappointed with what they have seen.
Snyder cleverly sneaked in the anti-life equation to add another layer to the storytelling, but he desperately lacked what many critics think was the primary absence in the whole action flick. An intriguing villain.
Steppenwolf was all-powerful and tried extravagantly hard to turn all of humanity into zombie slaves but looked imbecile and lackluster. It was almost as if, amidst the controversies and passion for reviving the Justice League, everyone forgot about Steppenwolf in his entirety.
In precis, Zack Snyder’s Justice League is a celebration of familiar superheroes, a revival of the good old franchise with blowing trumpets, and a friendly reminder that nobody really dies in a superhero film. It is a cathartic feeling that comes after years of fights and turbulence. It is a sign that things are falling into place. It is a unique moment in pop culture, whether you like it or not, and has been tailor-made for millennials, for whom customization is a part of their lives: you either care, or you walk away.
And as far as DC fans are concerned, it is what it is. A befitting climax to a long story or perhaps, a promise for a suitable future.
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