Zack Snyder’s Justice League (2021)

By Christian Eltell

Written and Published on December 29, 2021

Critic Rating: 3.5/4 Stars

Special End-of-Year Review

Four years ago, audiences were given a Justice League picture that was admirable, but short and rushed. Director Zack Snyder sadly had to step away from his film after the unfortunate passing of his daughter, Autumn. Avengers director Joss Whedon was brought in to complete filming, and while the theatrical cut contains a good mix of action and humor, it lacks the time and coherency that the picture so desperately needed. Along with that, there was also a lot of disappointing news concerning Whedon when actor Ray Fisher accused him of harassment and causing a toxic workplace environment during production.

Hundreds of fans successfully made their case online calling for Snyder to release his director’s cut of Justice League (#ReleaseTheSnyderCut), and this year, it finally arrived. While the running time is a lengthy four hours (although it didn’t feel that long), Snyder has given fans the definitive version of the film he intended to release years ago. And the result is a darker, edgier, and more in-depth superhero picture that gives us more time to see the characters involved in the DC Universe.

The story still remains: Bruce Wayne/Batman (Ben Affleck) and Diana Prince/Wonder Woman (Gal Gadot) work together to encounter the other meta-humans who can fight alongside them in order to take on an incoming threat to the world. These heroes include Victor Stone/Cyborg (Ray Fisher), Arthur Curry/Aquaman (Jason Momoa), and Barry Allen/The Flash (Ezra Miller). Once all the heroes are assembled, they work together to take down Steppenwolf, a supervillain who intends to destroy Earth with three “mother boxes,” and to prove his worth to Darkseid, the ruthless lord of the hellish-looking planet Apokolips.

The 2017 theatrical version spent too much time showing members of the league in conflict with one another. Batman was portrayed as the weakest link because he has no superpowers, and he questioned Diana’s ability to lead the team. He told the league “we are not enough,” while Diana was strongly against the idea of bringing Superman back to life. Flash, Aquaman, and Cyborg had some funny exchanges and exciting moments in action, but not enough in their backstories. Steppenwolf’s characterization was also weak and minimal. There was too much divisiveness within the league.

Snyder’s version displays his superheroes with more unity and compassion. While still mourning the death of Superman, and determined to overcome his mistakes from the past, Affleck’s Batman is more confident and adamant in his mission to bring the larger than life heroes together. Bruce and Diana continue to develop their partnership, which started back in Batman v Superman. Bruce also has more interactions with his loyal butler and partner Alfred (the great Jeremy Irons), who has a subtle sense of humor, and supplies Batman with nice gauntlets and a cool aircraft. In this version, Alfred is more hesitant about Bruce’s plan to bring the league together, and questions how they intend to take down Steppenwolf and his army of insects, but Bruce constantly tells him “to have faith.”

Wonder Woman is adjusting to life on Earth, both as a superhero and as a human being, after losing Steve Trevor, the man who guided her during World War I, and fell in love with her. As Diana, Gal Gadot continues to display strength and thoughtfulness in her role. She patiently tries to bring the league together, including Victor Stone, who has a challenging time adjusting to his life as part man, part machine. Diana and Victor have a tense but crucial moment in which Victor expresses displeasure in the “gifts” he now obtains, while Diana explains to him how she understands what it feels like to be helpless, especially after losing a loved one, and trying to find your place in a mad world.

Ray Fisher’s Cyborg is more of a central character in Snyder’s cut than Whedon’s condensed version, and Victor’s estranged relationship with his father, Dr. Silas Stone (brilliantly portrayed by Joe Morton), is the most emotional aspect of the film. An athletic football player who suffers a horrific car accident that kills his mother and nearly destroys his life, Victor has clearly been though hell and back. His father saves Victor with the use of one of the mother boxes, causing him to become a highly intelligent human computer. However, despite this newfound power that Victor has been given, all Victor feels is anger and disappointment towards himself and his father, who wasn’t always there for him in the past. It’s through his father and Diana where Victor begins to further understand his technical abilities, and how his power can be effective in taking down Steppenwolf.

While he still provides the most humor, Flash also has a difficult relationship with his own father (Billy Crudup), who is serving time in prison. Barry wants to prove to his dad that he can get a job and do everything he can to get him out of jail, but all his father wants is for his son to forget about him and to go live his own life. Aquaman never knew his birth mother, and resents her for abandoning him, causing his relationship with his allies in the seas to be strained. Despite his ability to save lives and help those in need, Arthur is uncertain about his path in life, but like the other members of the league, he knows Steppenwolf and his army need to be put down in order to save all of humanity.

Then there’s Clark Kent/Superman, portrayed by the mighty Henry Cavill, who I would have liked to have seen more of in this film. Nonetheless, his comeback is even more epic in this version, especially due to the scene in which his new dark suit is unveiled. Clark also looks around in the aircraft that brought him to Earth, as we hear the voices of his fathers, Jor-El (Russell Crowe) and Jonathan Kent (Kevin Costner), in the background. We also see a little more of Lois Lane (Amy Adams) and Martha Kent (Diane Lane), who express their emotions over losing Clark, and their genuine reactions when he returns.

Steppenwolf has a cooler, shinier, and more refined appearance that fits his character’s physicality and menace. The way he slashes down others with his axe is brutal and unrelenting. There’s also a cool, bloody moment in which he extracts information from an Atlantean by placing a gigantic bug over his head. We also finally see Darkseid (missing in Whedon’s version), who looks darker and scarier than the devil. The conversations between Steppenwolf and Darkseid are pivotal because even though Steppenwolf is the primary villain here, he seems like a pawn compared to Darkseid, the one who is truly in control. Steppenwolf is evil and cruel, but he is also vulnerable because he tries so hard to please Darkseid in accomplishing his goal to desecrate Earth, but when he fails, the blame will all fall on him.

This film could easily be looked at as DC’s version of Marvel’s The Avengers, in which heroes are brought together to fight a common enemy. The film’s story doesn’t offer anything significantly new, but what makes Snyder’s film effective is clashing these DC heroes and villains in one epic feature, featuring characters we have seen since 2013’s Man of Steel.

Snyder has always been a visually striking director who enjoys displaying intense action sequences and slow motion scenes, such as the opening sequence in which Superman’s scream is heard around the world after defeating Doomsday, Flash saving a beautiful woman who’s about to be killed in a car crash, and Aquaman drinking a bottle of whiskey and throwing that bottle down hard before going through the high seas. The action scenes in Snyder’s version are bloodier, lengthier, and hard hitting compared to the rushed, condensed, and uneven PG-13 action in Whedon’s version, including the opening battle between Queen Hippolyta’s (Connie Nielsen) Amazonians and Steppenwolf’s army, Wonder Woman’s initial fight with bank robbers, and the league rescuing Dr. Stone and the other scientists from Steppenwolf. The final battle is also perfectly remastered in darkness (rather than daylight in the theatrical cut), with Batman actually shooting down and blowing up those flying insects, instead of shooting through air in Whedon’s version. Steppenwolf’s defeat is also satisfying, leaving the door open for Darkseid to take on the league.

Along with the great cast and action, there’s a slew of camoes, including Commissioner Gordon (J.K. Simmons), a bald Lex Luthor (Jesse Eisenberg), and Slade Wilson/Deathstroke (Joe Manganiello). In a surprising turn, former General and then Secretary of Defense Calvin Swanwick (Harry Lennix) is revealed to actually be a superhero named Martian Manhunter, who’s intent was to have Bruce bring members of the league together. This was an intriguing revelation considering Swanwick was initially hesitant towards trusting Superman, but then admired the Man of Steel’s heroism as they formed an alliance.

However, the best cameo belongs to Jared Leto’s Joker, whose screen time here surpasses everything he (all-too-briefly) did in Suicide Squad. The confrontation between Affleck’s Batman and Leto’s Joker is gloomy, raw, and eerie, and is perfectly encapsulated in Bruce’s Knightmare during the epilogue. The way Batman talks to Joker in such a deep, personal, and profane manner, sends chills down one’s spine, while Joker has his crazy laugh, and slips out a card from his mouth.

This Justice League picture is everything Zack Snyder and company set out to accomplish, and if this turns out to be Snyder’s last DC superhero film (don’t think so), then the filmmaker has gone out with a bang. Let’s wait and see what happens (there is the potential for more films, and a director’s cut of David Ayer’s Suicide Squad). In the meantime, DC fans can rejoice and enjoy this superhero epic.