Director: Zack Snyder
Starring: Ben Affleck, Gal Gadot, Ray Fisher, Jason Mamoa, Ezra Miller, Henry Cavill, Ciaran Hinds, Amy Adams, Jeremy Irons, Diane Lane
Before you can appropriately assess the merits of Zack Snyder’s Justice League, you must first address the false premise under which the film has been marketed. When Warner Brothers’ 2017 superhero team-up Justice League fell flat with audiences and reviewers alike, it didn’t take long for online defenders of the franchise to apportion blame to director Joss Whedon. Zack Snyder, who had been central to Warners’ DC universe having directed Man of Steel and Batman vs Superman: Dawn of Justice, was forced to leave the project in post-production due to a family tragedy and was replaced by Whedon. It was reported that under Whedon’s supervision, Justice League underwent a substantial change in tone and while Snyder retained the director’s credit, some have suggested that as much as 70% of the theatrical cut was either shot or re-shot by Whedon. Rumours began to circulate online that Warner Brothers possessed a near complete and vastly superior ‘Snyder Cut’ of the film, and calls to release it began to echo around certain pockets of social media. In May 2020, Warner Brothers announced that they were putting $70 million towards the restoration of Snyder’s original vision for the film, with the cut to be released on their streaming service, HBO Max.Continue reading
Director: Zack Snyder
Starring: Ben Affleck, Gal Gadot, Jason Mamoa, Ezra Miller, Ray Fisher, Henry Cavill, Amy Adams, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons, Amber Heard, David Thewlis
While it had all sorts of problems and received a pasting from critics around the world, one thing you have to hand to Batman vs Superman: Dawn of Justice is that it swung for the fences. It had an idea and committed to it. It just didn’t end up being an idea which connected with audiences. Justice League, the latest film from Warner Brothers’ much maligned DC Extended Universe, is a significantly less ambitious movie. A gun shy film which shows more evidence of being chastened by the reaction to Batman vs Superman than emboldened by the success of Wonder Woman, it plays it safe and, as a result, ends up being entirely bland and largely forgettable.
Chronologically, Justice League is a sequel to Batman vs Superman rather than Wonder Woman. We find the world still mourning the death of Superman (Henry Cavill), and his passing has left it vulnerable. Winged Parademons who feed on fear have started showing up at Gotham and Bruce Wayne (Ben Affleck) is convinced that they herald something much worse on its way. Continue reading
Director: Zach Snyder
Starring: Henry Cavill, Ben Affleck, Amy Adams, Jesse Eisenberg, Jeremy Irons, Holly Hunter, Gal Gadot, Diane Lane, Laurence Fishburne
“Who would win a fight between…” has long been a favourite hypothetical of young comic book fans around the world. So for those boys and girls Batman vs Superman: Dawn of Justice must have sounded like a dream come true. Unfortunately though, if there is one audience this film is not for it is kids. In bringing together the world’s two most iconic superheroes Zach Snyder has made the darkest mainstream blockbuster in recent memory. It is a serious film without an ounce of lightness or humour that seeks to pose ethical and philosophical questions about power, but poor execution leaves it falling short of its lofty goals.
Batman vs Superman is in a number of ways a reactionary film. At an industrial level it is absolutely Warner Brothers and DC’s panicked response to the outrageous success Marvel Studios have had with their interwoven Marvel Cinematic Universe. What was originally supposed to be a straight sequel to 2013’s Man of Steel was seemingly co-opted by the studio to become the launching pad for the DC Expanded Universe. Continue reading
Director: Zack Snyder
Starring: Henry Cavill, Amy Adams, Michael Shannon, Russell Crowe, Diane Lane, Kevin Costner, Laurence Fishburne
After successfully resurrecting the dormant Batman franchise with his Dark Knight Trilogy, DC Comics and Warner Brothers turned to Christopher Nolan with a far greater challenge: Superman. At a time when audiences seem to prefer their heroes flawed, either with a sense of damage and menace (Batman) or an overly well-developed ego (Iron Man), was there still a market for an idealistic boy scout in a blue suit who fights for truth, justice and the American way?
Whereas the last attempt to resurrect the franchise, Bryan Singer’s Superman Returns, tried to follow on from the Christopher Reeve series, Man of Steel takes us back to the beginning. Rather than working chronologically, the film jumps back and forth, relying heavily on flashbacks to fill in the story of how Kal-El became Clark Kent and then Superman – a handy device to avoid the usual origin story problem of requiring the audience to wait too long before Superman starts being super. No sooner has Clark learned the truth about his heritage, he is called upon to protect his adopted home from invaders from his ancestral home, with the banished Kryptonian military leader General Zod mounting an invasion of Earth, with the intention of establishing it as a new Krypton.
The “invaders from outer space” nature of the threat in Man of Steel makes it feel more akin to Transformers or Independence Day than other spandex-clad superhero movies. That is the biggest difference between this and previous screen adaptations: Man of Steel is a science-fiction movie rather than a fantasy. It looks like a science fiction movie, with the ice-crystal set designs of the Christopher Reeve films abandoned for a design seemingly more inspired by Ridley Scott’s Alien, and it sounds like a science-fiction movie, complete with terrible dialogue about world engines, codexes and Phantom drives.
Like many a Superman adaptation before it, Man of Steel flirts with the allusion of Superman as a Christ figure – an ironic tradition given the hero was the product of Jewish creators Jerry Siegel and Joel Shuster. Our hero’s father, Jor-El, tells his son, “You will give the people of Earth an ideal to strive towards. They will race behind you. They will stumble. They will fall. But in time they will join you in the sun. In time you will help them accomplish wonders.” The Christ allusions in Man of Steel aren’t as overt as they have been in the past – in Superman Returns he was “the light to show them the way,” literally sacrificing himself for the sake of humanity only to be resurrected a couple of days later – instead preferring to focus on the idea of Superman being a symbol of hope.
With Nolan acting as producer, directorial duties were given to Zack Snyder, who is known for his highly stylised use of digital effects in films like 300, Sucker Punch and Watchmen. While he sticks to a pretty simple aesthetic here, his experience with digital effects results in the most visually impressive Superman film yet made, with the little touches – like the way you see the sound barrier being cracked when Superman flies away – being more impressive than the huge effects we are used to seeing in this kind of movie.
A big movie like this one presented as an epic story needs a big-time cast to carry it. British actor Henry Cavill makes for a good Superman, with the appropriate combination of broad chest, chiselled jaw and trustworthy eyes. Amy Adams gets more to work with than past Lois Lanes, with her incarnation of the plucky journalist being courageous, resourceful, and finally intelligent enough to be able to recognise the object of her affection even when he puts on glasses. But it is the depth and quality of the supporting cast which really helps to give the film an epic quality, with the likes of Russell Crowe, Diane Lane, Kevin Costner and Lawrence Fishburne all putting in solid supporting turns.
While it is certain to perform strongly at the box office, ultimately Man of Steel runs into the same issues that Superman stories always seem to: that the build-up is more interesting than the climax. In this case the interest is in the existential journey of a young Clark Kent who is trying to work out who he is, why he is here and what he should do with his abilities, and in the way people respond to him and what he represents. But an adventure story climax requires a level of threat that is hard to muster when your hero is practically invincible. In this case he has an adversary who is equally invincible, and watching two of them hitting each other starts to get a bit tedious after a while.
Rating – ★★★☆
Review by Duncan McLean
Yesterday the first full trailer for Zack Snyder’s Superman movie Man of Steel hit the internet, and it made for some interesting viewing.
For mine, this is an excellent trailer. It’s bold and operatic. It gives you a sense of what the film is about thematically without giving away any of the narrative. If you didn’t know what you were watching, you could get about a minute into the trailer before realising it was Superman.
Christopher Nolan is a producer on the film, and it appears that they have taken a leaf out of his Batman blue-print. He has said in a number of interviews that one of the primary goals of Batman Begins was to get the audience to care about Bruce Wayne and not just be impatiently waiting for him to put the suit on. It appears Snyder is taking a similar approach here with Man of Steel, trying to get us invested in Clark Kent as a person. Even in this first trailer we are being confronted with the questions and decisions facing this young man.
We get little glimpses of what is a very impressive supporting cast – Russell Crowe, Amy Adams, Kevin Costner, Diane Lane, Laurence Fishburne and Michael Shannon – but really, this trailer is all about Henry Cavill, and he definitely looks the part (apart from one awkward shot where he looks a bit made up).
The film is due out mid-2013 and I’ll be very interested to see how it goes. The big question for me, which is still hasn’t really been answered, is can they make Superman an interesting, complex and flawed enough character for a 21st century audience to get behind. Look at the superhero movies that have succeeded over the last few years. Nolan’s Batman is an emotionally damaged vigilante. Jon Favreau’s Iron Man is a arrogant, narcissistic playboy. Is Superman, as a concept, too perfect for contemporary audiences? And is the rest of the world still interested in a superhero who fights for “Truth, Justice and the American way”?