Zack Snyder’s Justice League it’s here. They have been years waiting, with requests, one after another, to recover in some way the possibility of knowing what the original production was like, which later was left in a set of scenes with poor content and questionable distribution. The Justice League that came to us was not, in any case, a worthy continuation of The Man of Steel and Batman v Superman. And much less, Wonder Woman. For a moment, let’s leave questionable aftermaths aside (see “1984”, which doesn’t even work entirely with this piece of film). Let’s focus, and enjoy what Snyder did. We press “Play” and … What is this?
This movie is going to be seen in 4:3just as Snyder had conceived it, they say. We started ranking a bit mentally: yes, a “square“in the center of the screen there is an air that mixes the mental docility of auteur cinema (far away is that Napoleon of 1927 who marked himself, with 3 projectors, the first panoramic film in history, premiered at the Paris Opera , as this is like inverting it) mixed with the “vignette” effect, so useful in a production based on comics.
And the truth is that to every viewer, at this point, it is quite difficult for the filmmaker to think, in the middle of the 21st century, that his film should look like this and not a panoramic version like today would be the most normal. We talked about that even Sin City and 300 pull color effects to get fully into the graphic novel style. But for a moment, let’s understand that he wanted to offer this, we like it more or less.
Is this experience different from the one lived a few years ago in cinemas? Yes it’s different. It is abysmal. Zack Snyder’s Justice League is ten times more intense, epic at its best. Each character is deepened in a way that would be unthinkable in a film with a lower footage than this one (4 holy hours, nothing negligible, everything is said), well we’re going to get a chance to “stand” on Flash and Cyborg like we haven’t done before. And we are not going to say in Batman, Superman or Wonder Woman because we already knew them before.
But we must say that the most brutal thing is, without a doubt, the iconography. We are more than sure that you all have already seen those images of the joker from this version… stuff this Jared Leto, who has been worked with in such an outstanding way that it makes the Suicide Squad pale (worth the term). Quite a success.
Not surprisingly, the singer and actor is good at going out in the concerts (or it was given, because now this is going to take time to happen again) with a messianic aura that mixes its undeniable attractiveness with delicacies such as going up in the middle of the Sports Palace of Barcelona and between a shower of sweat, tears of emotion and a cocktail of hormones and pheromones that reduced the oxygen in the environment, a little girl on stage and made her vote for the part of the audience that made the most noise. Now it’s just the opposite, and the mix of makeup, darkness and soundtrack is to include it among the productions of true cult cinema.
Fans of the deceased Heath Ledger can feel more than pleased because they are scenes in which that dystopian aftertaste that only the sadly deceased actor was able to contribute to the figure of the murderous clown is almost recovered, although in the case of the remembered Ledger he functioned much more like a terrorist, recovering here a more morbid effect, with a delicious repulsion effect that will make us enjoy while we frown, as if it were a failed Marilyn Manson experiment, and a few days before Easter. Bravo for the visual detail.
It is necessary to talk about the story itself. Now Steppenwolf It has a role similar to the original, but that seems more “incidental” to the imposing presence of the character created by Jackk Kirby in 1970: Darkseid, an omnipotent god and king in turn of the planet of barbarism and death Apokolips. Little joke, this being has come to make things difficult for Superman himself in DC comics, since at the time he appeared in the decade in which David Bowie had already established canons. The war is served, and the confrontation will take on a different hue from the moment the new Superman in the much anticipated dark suit enters to scene. The day we see the next actor to play him in the event that Mr. Henry Cavill leaves him is going to be one of the rarest of our lives, as the mere presence of the actor already exudes something special and heroic.
Amazon Rainforest, Diana with his ancient deity genes, the tremendous power and self-confidence of a Aquaman that is presented more overwhelming than ever from the moment in which Bruce Wayne looks for him in Norway and a more developed and adorable Flash whose attitude seems to evoke the youth of Marvel’s last Spider-Man, although with a different air. Ezra Miller shines for his great performance and for providing a certain humorous point necessary to alleviate the plot load of deities that begins to weigh several tons from the moment we have exceeded 4 episodes of the film.
Extending the scenes, moreover, has been a huge favor to the Dark Knight, embodied (as you know) by a – less and less rejected – Ben Affleck, whose appearance is, once again, the perfect Bruce Wayne, although a somewhat more Batman tedious and not very agile than we would like to see. The character’s complicity with Diana, his ability to become a sort of “presenter” of a night gala, which reinforces his image in an impeccable suit, they gradually make the viewer relax and abandon the strange confrontation derived from his choice to embody the character of the DC comics.
Of Gal Gadot Little can be said that we don’t already know: his work is spectacular. She exudes charisma, uses the image of the heroine as a useful (and not forced as in other productions) feminist figure, with aspirations, strength and a heroism that would not be left in the hands of a male protagonist. Without Wonder Woman there would be no Justice League, but without Gal Gadot, there would be no Wonder Woman. Outstanding work and that, as many know, is at the top of the scale of DC film productions. In fact, we will see how the great enemies notice its presence, respond to it and even identify it. He is probably one of the most ambivalent, useful and interdisciplinary characters in the film, being the first one that is able to make Superman himself reconsider, whom he calls by name: Kalel, the survivor of Krypton.
We still have to name the actor who has sounded the most in recent months regarding this production. The one who has not had to re-record anything, but has reappeared triumphantly here: Ray Fisher It is a real pass, now that they allow us to get more into the character. This is a film criticism, not current news, so leaving aside the problems that the director of the “trimmed” version that we saw at the time generated, it is an electronic twist for such a mystical group, but at the same time a stroke of goodness and a character who, despite his cybernetic anatomy, is more human than everyone else together.
Zack Snyder’s Justice League is what should have happened at the time. A waste of stories with a mythological aftertaste that borders on the biblical, with the presence of the entire DC universe seen in the cinema to date, with a spectacular visual section that does not give in to the search for realism, but maintains a own and undeniable identity and that is capable of making us enjoy a darkness lost in the previous version, but that we knew Snyder would offer us. A delicate commitment to the most archaic visual style in terms of format, with an extremely high use of CGI, but with such an effective result that it surprises us. Outside of unnecessary or funny ironic jokes that want to bring you closer to the universe of (non) competition: we wanted an adult story, and here it is.
Of course we are not going to tell you the outcome, although you can already know it to a great extent, but we are going to put a mark on a film that comes to close an unfortunate episode in the history of cinema and comics, with a DC that seemed to capsize due to “pieces” like a ridiculous Suicide Squad that surrendered to fan-service or a style lacking in personality that only comics, whether stapled or whole volumes, have managed to convey. Our recommendation is that you watch it slowly, enjoying it, shelling it. That you enjoy its unique and attractive visual style, and that you open your mind, abandoning all kinds of confrontations between comic brands. What We remind you that, meanwhile, the multiverses are there, alone and exclusively to make us enjoy ourselves. And that everyone likes.
This is the true Justice League that lives up to the story started in The Man of Steel. A riot of CGI scenes, a bold show of bravery in employing a visual style that can be risky as well as effective. A very particular product but that plays with the action, the mythology of DC and the characters in such a way that it becomes a – rightly – episodic story that leaves the comic book fan speechless and that surprises everyone who comes by pure interest. This Justice League works despite the blow of intensity, which will require a certain rest after finishing, and which will make us consider the usefulness of its visual framing and proportion.