Critics reviews

For those unsold so far on the Snyder approach to super-heroism, or super-heroic cinema in general, Justice League doesn’t feel like the film to tip the balance in its favour. But in a genre increasingly hidebound by formula, it stands as a monument to exceptionalism that itself feels exceptional.

And yet, ZSJL demonstrates the most irrefutable, assuredly flamboyant filmmaking in years. ZSJL gives comic-book myth a classical look that formulaic Marvel movies and Peter Jackson’s unfocussed Lord of the Rings series lacked. Snyder pushes typically flimsy video-game extravagance toward Homer and Malory’s romantic depth.

For whole chunks of this movie, I must admit, I was beside myself with boredom. Yet the rush to the heart, when Snyder’s vision comes together, makes it all worth while.

There are times when you’re convinced it’s entering the final act, only to realize there are still more than two hours to go. But lose all these melodramatic curlicues and oversized narrative distractions, and you’d lose what makes the film special. There, in its great, glorious bloat, lies the movie’s heart.

Snyder self-consciously mashes as much story into the time frame as possible, tagging the end with countless dangling threads that could have been woven into a larger tapestry of future DC Comics movies — had his cut seen release earlier.

The clashing battles never give you that weary, here’s-some-more-CGI feeling, because they’ve been staged with a supreme conviction that’s more “Seven Samurai” than super invincible.

Yet what Snyder has delivered is an extraordinary cinematic landmark and a comic-book epic like no other. He has repaired the damage done by Whedon’s cut and removed the godawful “banter”, the plot holes... and the shameful enervated storytelling...

From those Icelandic singers to a big set piece where Wonder Woman (Gal Gadot) foils terrorists by herself in London, the film is stuffed with big and small things that do nothing to move it forward, or to offer light relief from a never-ending river of CG action sequences.

The overall effect often makes the Snyder Cut feel like an action video game where the goal is to tally up the number of knockouts each character can land. The film isn’t without its pleasures... But it would’ve been nice to see Snyder knock this out of the park and supplement his eye for visuals and his unique style with a story that had a bit more soul, especially with his very rare $70 million second chance.

His Justice League is overlong, miserable and signifies nothing other than the potential of fandom to influence top-level creative decision-making.

[A]ny film that takes great risks will be more interesting, even if it fails, than a film that takes no risks and succeeds at mediocrity, and, as Snyder proves, a movie with a clear director’s touch is more compelling than a movie that’s been made by committee.

This cut isn’t going to win anyone over — it’s a self-serious sermon to the converted that isn’t terribly concerned with getting the audience to like its characters — but it all goes down much smoother than the theatrical cut, which feels garish and jagged by comparison.