'Zack Snyder's Justice League' Review

Synopsis: Zack Snyder's definitive director's cut of Justice League. Determined to ensure Superman's ultimate sacrifice was not in vain, Bruce Wayne aligns forces with Diana Prince with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions.

Runtime: 242 minutes

MPAA Rating: R (for violence and some language)

Who should see it? Adult fans of DC Comics and Zack Snyder's filmography.

For those who aren't up to date with the online discourse surrounding Justice League, you may be confused why I'd be reviewing it again. Especially since the theatrical cut is already credited to director Zack Snyder... Well, for those unaware, Zack Snyder departed the project during post-production to deal with the aftermath of his daughter Autumn's tragic suicide. Though some of the footage shot under him made it into that cut, he's the director in name only. Warner Bros. enlisted Joss Whedon to rework the film and make the finished product Avengers-lite. The result was the cinematic equivalent of Frankenstein's monster. Ever since the release of Man Of Steel, it's been apparent that Warner Bros. was skittish to grant their directors complete control over bringing their DC Comics characters to the big screen. Thankfully, new leadership seems to relinquish much more control lately, so I sincerely hope the studio learned its lesson.

In Snyder's case, the studio clearly intervened in his theatrical version of Batman v Superman: Dawn of Justice, as the director's cut offers a much more cohesive viewing experience. Since Justice League's release in November 2017, fans have rallied to see Snyder's vision for Justice League fully materialized. When the #ReleaseTheSnyderCut movement began, it honestly seemed like a pipe dream. Why would Warner Bros. finance the completion of a director's cut when they'd already sunk over $300 M into the theatrical version? The Snyder Cut then took on a mythos of its own. While there were undoubtedly bad apples who relentlessly harassed the studio advocating for the release of the fabled Snyder Cut, I know several individuals who were well-intentioned in their quest to see Snyder's rendition. 

Thanks to Cyborg actor Ray Fisher, it has since come to light that the working environment during the Justice League reshoots was incredibly unprofessional on behalf of Joss Whedon and key individuals at the studio, including Geoff Johns, Jon Berg, and DC films chief Walter Hamada. As allegations against Whedon accumulated from all directions, the fight for the Snyder Cut took on a greater meaning of reclaiming the film's auteurship from toxic enablers. The movement grew till it was announced in May of last year that Warner Bros would fund the completion of the Snyder Cut for it to be released exclusively on HBO Max. In preparation for the four-hour feature, I sat down to rewatch Snyder's previous DC efforts and found myself reappraising them both. While I think Man of Steel and Batman v Superman are certainly still flawed, the mythic approach to depicting these classic characters is far more interesting than regurgitating what we've already seen. That mindset perseveres through Zack Snyder's Justice League.

I begin my review with this information because it is necessary to understand why this version exists. There's much to be said about studios caving to every whim of their audience, but the Snyder Cut's release rings true as a victory for preserving an artist's creative freedom. Strip that away, and we're left with a homogenous, soulless corporate product. The screenplay is credited to Chris Terrio, who co-authored the story alongside Snyder and Will Beall. Though I'll be the first to admit I initially gave Justice League a very generous review, I can confidently say the Snyder Cut exceeds it in every way imaginable. Four-hour runtime be damned, Snyder's version is brimming with the director's resilient spirit. 

While the Snyder Cut differs substantially from the theatrical version, the over-arching plot is more-or-less identical. Batman brings together a group of heroes to prevent Earth from being destroyed by intergalactic forces. The obvious takeaway is that the longer runtime gives the story more breathing room and allows for deeper character development. I think that's what makes the film work as well. The four-hour runtime certainly is daunting, but the film is divided into six chapters, a prologue, and an epilogue. HBO Max has these clearly marked so you can choose to watch it as a mini-series if viewing it in one sitting seems overwhelming. I'll confess that I felt the four-hour runtime, and it could have been whittled down to maybe two and a half-to-three hours if Cyborg, Flash, and Aquaman had their own movies released beforehand. That said, the introduction of three pivotal heroes works much better this time around. 

Snyder balances the heroes much more effectively, and they finally feel fully realized and present. Cyborg and Flash notably benefit the most in Snyder's hands, but it was incredibly refreshing to see the camera framed more respectfully around Wonder Woman. Whedon's treatment of Diana and Cyborg speaks volumes about his character, and it's even more baffling to now see everything he and the studio chose to alter. Other notable improvements include the color grading, cinematography, visual effects, and a genuinely epic score by Thomas Holkenborg (aka Junkie XL). 

Ray Fisher put his career on the line to have his truth heard. After seeing his incredible performance here, I truly hope he continues to act because Cyborg is the movie's heart and soul. It's all the more disheartening to know that he was written out of the upcoming Flash movie in response to speaking out. A mistake that I hope will be course-corrected... Aiding Fisher, Joe Morton brings abundant emotional weight to the proceedings as Victor Stone's father. Their troubled relationship was an especially poignant highlight for me, and undoubtedly the lynch-pin holding everything together. 

Regarding the rest of the league, Ben Affleck, Henry Cavill, Gal Gadot, Jason Mamoa, and Ezra Miller each have their moments in the limelight. These performers continue to embody their characters quite well, and it was delightful to see them bounce off one another. With DC's future constantly in flux, one can only hope this cast will persevere. 

On the antagonistic front, the changes to Steppenwolf's design and exploration of his motivation made him much more threatening and interesting. He actually has a personality this time! As for some shortcomings, there are still some iffy visual effects, but that's common in the modern landscape of comic-book movies, and most of the effects look much better than the 2017 rendition. So I honestly can't harp on that too much as it's more representative of how visual effects artists are often rushed and overworked to meet specific deadlines. I'm also still not fond of Jared Leto's Joker, whose infamous uttering of the memeic phrase "We live in a society" took the internet by storm. Leto is barely in the movie, so again, this is a minor gripe. The runtime is a blessing and a curse, as it adds much-needed dimension to a sprawling cast of characters but the whole endeavor admittedly feels longwinded when all is said and done. That said, I'd gladly watch the Snyder Cut a thousand times over before willfully revisiting Whedon's version anytime soon. 

I admittedly never thought the Snyder Cut would see the light of day. Still I have to say, its epic and emotionally-charged narrative invigorated my interest in seeing Zack Snyder proceed with his planned Justice League sequels. At the end of the day, I'm just grateful he had the opportunity to reclaim his work in the face of overwhelming odds. 

Film Assessment: B+

'Wonder Woman 1984' Review

Synopsis: Fast forward to the 1980s as Wonder Woman squares off against Maxwell Lord and the Cheetah.

Runtime: 151 minutes

MPAA Rating: PG-13 (for sequences of action and violence)

Who should see it? Fans of DC Comics and Wonder Woman.

Helmed by returning Wonder Woman director Patty Jenkins who co-wrote the screenplay with Geoff Johns and Dave Callaham, Diana Prince's second solo outing has shaken things up drastically. As the title suggests, Wonder Woman 1984 is set nearly seventy years after its predecessor and introduces a whole new cast of supporting characters. Lately, Hollywood seems hellbent on integrating 80s pop culture references into just about everything (i.e., Stranger Things, Ready Player One, and It, among other things). Therefore, I was a bit nervous that Wonder Woman 1984 might rely too heavily on the novelty of nostalgia. Well, I'm pleasantly surprised to report there were no popular 80s songs forced in the soundtrack, and there's even a story basis for the film's setting, so it's more than a gimmick. 

The 80s were a decade of mass consumerism, and that distinctive quality of the era ties right into Wonder Woman 1984's central message. The sequel is all about the pursuit of our greatest desires and begs the question of what we are willing to sacrifice to obtain the thing we covet most. What I found very interesting about this dilemma was how Jenkins and company forced their selfless heroine to face the consequences of making a selfish choice. This conflict offered Diana a compelling arc and served as a natural continuation of her story. It was also refreshing to see her feeling at ease in man's world after being a fish out of water in the first film. On that note, the mysterious return of Steve Trevor signifies a role reversal between the two since Trevor's not very well acquainted with the culture of the 1980s.

I was very skeptical about Chris Pine's return considering his character's state at the end of Wonder Woman. While dealing with comic book characters offers a degree of freedom to make creative decisions like this, doing so shouldn't come at the risk of undermining the dramatic weight of Steve's previous choices. However, the logic behind his sudden reappearance was held up within this fictional universe's confines and served the story. Jenkins, Johns, and Callaham totally made it work and found a unique way to incorporate it into the narrative, so consider me pleasantly surprised.

Jenkins once again delivers some exhilarating action with the backing of a great technical crew. The stunt choreographers notably found creative ways to implement Wonder Woman's Lasso of Truth in the major set pieces. Wonder Woman 1984 improves on the original with more clearly defined villains and a focused third act confrontation. That said, I found the use of slow-motion excessive at times, whereas it didn't bother me in the first film. The dialogue mixing also seemed uneven as I saw the movie in IMAX, but many of the lines still sounded very quiet. I could understand what was being said for the most part but thought the dialogue could have been amplified even more. 

I applaud the marketing department for preserving most plot details but thought the beginning of the film seemed aimless as audiences are left in the dark about the greater plot. Once things clicked together around the midway point, I understood the setup better and am curious to see what I think with repeat viewings. Two other things that stood out to me were that the film wasn't quite as visually stimulating as its predecessor and I was also initially underwhelmed by Hans Zimmer's score. This is primarily because I hold Zimmer in very high regard as one of the best film composers working today, so I hold him to a higher standard. While his Wonder Woman theme is still incredible, the remainder of his music doesn't measure up. Again, I could feel differently after settling in with it, but these are my initial thoughts. 

In many ways, Wonder Woman 1984 exceeds its predecessor while maintaining the qualities of this iteration that first endeared audiences. Front and center, Gal Gadot remains a charismatic lead and continues to embody Diana's virtuous traits. This time around, Gadot showcases much more range with an emotionally-charged arc. An advantage of bringing back Chris Pine as Steve Trevor is that the chemistry between him and Gadot carries over from the first film. Pine persists to be a likable love-interest and charming presence, bringing levity and heart aplenty to the proceedings.

Joining the cast, Kristen Wiig's Barbara Minerva makes an interesting foil to Diana. Wiig's awkward quirkiness warms your heart before her character's tragic descent seemingly squanders that goodwill. Wiig handles both extremes with poise, never falling into the trappings of a stereotype. You truly ache for her as she becomes the villainess Cheetah. 

The other prominent addition is Pedro Pascal as Maxwell Lord, an eccentric TV personality-turned-businessman. Recently, Pascal has had his face covered for much of The Mandalorian, which at times hinders that performance. However, here, he's as expressive as can be. Pascal's star power takes care of the character's magnetic presence, a front for Lord's bubbling insecurities. Though he's not wearing a physical helmet, Pascal still gets to gallivant around with a metaphorical mask. Going into Wonder Woman 1984, I had an idea of who his character might actually be that proved incorrect, so I was glad the movie kept me on my toes. Based on Ares's shortcomings in Wonder Woman, the depth and dimension of Maxwell Lord really took me off guard. Pascal makes for a compelling antagonist, who I'd consider one of the DCEU's best thus far! Here's hoping he has more opportunity to emote on The Mandalorian.

Without a doubt, my favorite characteristic of Jenkins' Wonder Woman films is how unabashedly sentimental they are. This franchise wears its heart on its gauntlets and attests to the value of love and compassion. It's fitting for Wonder Woman 1984 to release amidst a pandemic and the holiday season due to its hopeful message. Whether you see it in theaters or HBO Max when it releases on Christmas day, you're sure to enjoy the latest adventure headlined by DC's quintessential heroine. Wonder Woman 1984 just might be my new favorite entry in the DCEU. At the very least, it's neck-and-neck with its predecessor. I was already eagerly awaiting Patty Jenkins' recently announced Star Wars: Rogue Squadron, but I cannot wait to see what she does three years from now in a galaxy far, far away... 

Film Assessment: A-

'Ralph Breaks the Internet' Review

I apologize for the delay on this review, as I saw Ralph Breaks the Internet over a week ago now, but I've been fairly busy with school work as the Fall semester is coming to a close. Thankfully, I now have a substantial influx of free time since I've just completed my final assignment and only have one more final left to worry about. Within the last week, I've filled a vast majority of my free time not dedicated to schoolwork with watching a few films in theaters which piqued my interest and I was concerned may soon leave theaters. Anyways, you can soon expect reviews for Green Book, A Private War, Can You Ever Forgive Me?, Boy Erased, and The Hate U Give (I'll try to stick to a review or two a day). Otherwise, I've noticed that the first few weeks of December are relatively light regarding new releases, so I'm going to use that time to catch up on titles I missed from earlier in the year which are currently available via streaming or home media. Aside from that, I'm going to soon put much of my time and attention towards editing a video about Star Wars: The Last Jedi which I've been working on for the past three months. The plan is to release that on December 15th, so it's available on the year anniversary of The Last Jedi's theatrical release, and I'm going to write a corresponding blog post detailing my thought process behind it and any other interesting behind-the-scenes factoids I can piece together.

'Ralph Breaks the Internet' Review

Nominated For: Best Animated Feature.

Video game bad guy Ralph and fellow misfit Vanellope von Schweetz must risk it all by traveling to the World Wide Web in search of a replacement part to save Vanellope's video game, "Sugar Rush." In way over their heads, Ralph and Vanellope rely on the citizens of the internet to help navigate their way, including an entrepreneur named Yesss, who is the head algorithm and the heart and soul of trend-making sit BuzzzTube.

Ralph Breaks the Internet is co-directed by Phil Johnston and Rich Moore, features a screenplay penned by Johnston and Pamela Ribon, and credits its story to Johnston, Moore, Ribon, Jim Reardon, Josie Trinidad, and Kelly Younger. While that certainly sounds like a lot of credited names, it's understandable that a story exploring a world as vast as the Internet would require all hands on deck. Fortunately, all of the individuals mentioned above are in-studio talent who have previously worked on Wreck-It Ralph and Zootopia among other recent Disney animation. With plenty of easter eggs, gags, and background elements alluding to popular Internet and Disney IP, Ralph Breaks the Internet could have easily fallen into the same rut as The Emoji Movie and effectively been two hours of obnoxious product placement. Thankfully, that's not quite the case... Though I suppose the "Oh My Disney" site could potentially annoy some viewers.

Regardless, the filmmakers play on the inner-workings of the Internet in plenty of fresh, exciting ways. As a setting, the Internet is almost a character of its own considering how well it's been intricately detailed and fleshed out by the animators. The rules and logic laid out by this World Wide Web are also fairly consistent with our own, so the events shown felt like a valid visual representation of everything which transpires online. In fact, Ralph Breaks the Internet heavily leans into the realism to provide insightful, much-needed commentary about how we handle ourselves online. It's a sad truth, but the worst version of ourselves often manifest on the Internet, and this film does not shy away from that whatsoever by shining the spotlight on toxic male insecurity. I'll be honest in saying I didn't expect Ralph Breaks the Internet to explore such mature thematic material on account of the age of its target audience. While a fair share of animated films can invoke mature discussion amongst families, the trailers made Ralph Breaks the Internet seem light and breezy, so I, therefore, expected a fun, surface-level adventure through cyberspace. 

By poking fun at the digital landscape and focusing on the ramifications of putting our needs and desires before others, Ralph Breaks the Internet delivers the best of both worlds. The film's equal parts hilarious and heartfelt. The jokes pertaining to the web and Disney itself are genuinely funny while the dilemma facing Ralph and Vanellope's friendship might hit a little close to home for certain viewers. Before I continue though, I'd like to say I was very impressed with how relevant the subject matter of the Internet managed to be. Animation's a very lengthy process, so I'm surprised that the story stayed so current in spite of the Internet's tendency to quickly cycle through trends.

As one would expect, John C. Reilly and Sarah Silverman recapture the delightful dynamic between Ralph and Vanellope instantaneously. Both banter and emotional beats are well conveyed by the two of them, but I'll say Silverman really stood out since she has a larger role this time. Otherwise, I was slightly surprised to see Jack Mc Brayer and Jane Lynch's Fix-It Felix and Sergeant Calhoun be mostly relegated to an off-screen B-plot considering their substantial involvement in the original (though there's an excellent payoff at the end which totally justifies it).

As for Wreck-It Ralph series newcomers, Gal Gadot, Taraji P. Henson, and Bill Hader each are impressionable as the tough-as-nails driver Shank, exuberant algorithm Yesss, and shifty click-baiter Spamley respectively. I was very impressed with Gal Gadot's voice work, in particular, considering this is her first voice role. She even sang a little bit and sounded pretty great, so hats off to her! Meanwhile, Alan Tudyk maintains his hot streak of voicing various characters for Walt Disney Animation Studios by portraying the feisty Internet browser KnowsMore.

And of course, I can't leave out the Disney Princesses... Just about all of the voice actresses who have voiced these characters in other mediums reprise their roles for a series of hilarious, engaging sequences. To tell you the truth, any scenes related to the Disney Princesses and the Oh My Disney site were highlights in my book! Their involvement directly corresponds to one particular musical number which had me laughing hysterically. With the proper context, "A Place Called Slaughter Race" warrants a Best Original Song nomination from the Academy.

Ralph Breaks the Internet may not be quite as focused or emotionally rich as the original, but it's a worthy sequel in every sense. At times, the plot proceedings seem a little scatter-brained and reminiscent of long-winded clickbait articles, but exceptional animation, phenomenal voice work, and a timely message regarding Internet behavior more than compensate for any sketchy online detours Ralph and Vanellope made along the way. Now, let's just hope audience members are able to get a strong reception and Disney's stance on Internet toxicity is successfully installed.

Film Assessment: A-

'Justice League' Review

Considering this review won't be out till at least a month after the film's release date, I'm going to include spoiler sections to discuss certain things in more detail. There will be clear spoiler warnings to mark these as a means of forewarning those who've yet to watch Justice League.

[This review was originally written in November 2017 and is now being published that my internship is over. For an explanation of this, visit my Fall 2017 Important Update post.] 

When Justice League opens, the world is still in mourning over the death of Superman. However, once an intergalactic evil emerges in the form of Steppenwolf and his legions of Parademon minions, Batman and Wonder Woman must unite a team of gifted individuals consisting of Flash, Cyborg, and Aquaman if they're to have any hope at stopping Steppenwolf from destroying the world by combining the three mythical Mother Boxes to form the Unity.

The Justice League's first comic appearance was in the year 1960, and fifty seven years later, we're finally seeing them team up on the big screen for the first time. This cinematic culmination has been a long time coming, and after the success of The Avengers in 2012, comic book fans knew a live action incarnation was possible. There have been a few attempts to adapt the iconic superhero team over the years, but none of these successfully made it into any theater screens as each one was canned early in production. However, it's evident that Marvel Studios' success inspired Warner Bros. to try and get their own shared universe of films off the ground, leading to the DC Extended Universe we know today including Man Of Steel, Batman v Superman: Dawn of Justice, Suicide Squad, and Wonder Woman.

Now, to say that the DCEU had a rocky start would be an enormous understatement, as they didn't have a commercial hit on their hands till earlier this summer with Wonder Woman. Everything preceding that stood out as divisive among both critics and average audiences, so it almost goes without saying that Warner Bros. had a lot riding on the success of Justice League considering they pumped $300 M into making comic-book readers' dreams a reality.

Note: Sadly, the film only brought in an underwhelming $93.8 M in its opening weekend, which is REALLY puny considering how iconic these characters are... For comparison, the first Iron Man made $98.6 M in its opening weekend when his character was a relative unknown back in 2008... I genuinely hope positive word of mouth spreads among audiences so it can make back more of its budget over time...

Anyways, the film's production took a turn for the worse earlier this year when director Zack Snyder departed the project to deal with the aftermath of his daughter's tragic suicide. From that point on, Joss Whedon, writer-director of both The Avengers and Avengers: Age Of Ultron, took over the post production process and reportedly reshot a substantial portion of the film. This development left me at odds to what I should possibly expect as I was of course excited to finally see these classic comic characters interacting with one another on the big screen, but the production's developments were troubling to say the least. Therefore, I chose to guard my optimism by hoping for the best, but also preparing for the worst. Thankfully, Justice League pleasantly surprised me as an entertaining use of two hours.

Due to the particularly unusual events that transpired behind the scenes, I'm not entirely sure who I should credit for what, so I'll do my best to avoid acknowledging any individual aspects to either Snyder or Whedon. This is especially evident in the fact Justice League didn't particularly feel like a Snyder film. For the most part, Justice League is a fusion of Synder's visual sensibilities and Whedon's quippy dialogue, which I've gotta say I liked. Chris Terrio is the other credited writer on both the story and screenplay, sharing story responsibility with Snyder and having originally shaped the script (although it's unclear precisely how much of the dialogue is Whedon's). Ultimately though, I feel the film was reconstructed by Warner Bros. in the wake of Snyder's tragedy.

Perhaps watching the film with that foresight made me more forgiving of the final product, but I'm of the belief that the first and foremost purpose of a blockbuster is to entertain, and Justice League sufficiently achieved that for me as an audience member, so I can overlook some of the film's shortcomings in the grand scheme of things. Not all of my opinions regarding Justice League are sunshine and roses though as the pacing of the project feels like it was hurriedly assembled by the Flash, the CGI was so-so, Danny Elfman's score is fairly forgettable, Steppenwolf is a thoroughly average antagonist, and the first fifteen minutes of the film are an absolute chore to sit through due to an unbearable opening credits montage paired with Sigrid's cover of the song "Everybody Knows."

Ultimately though, it's the ensemble that outweigh the inadequate elements. I had quite a few concerns in regards to casting, but the actors I was worried about proved me wrong. The chemistry between the cast was incredible, and I genuinely had a smile on my face about every time the characters were interacting with one another because it was simply satisfying to finally see a live action Justice League! In the action department, nothing in the film will absolutely blow you away, but it's all enjoyable and well-constructed so you'll have a hard time hiding that smile on your face.

Up first amongst the league is Batman, and Ben Affleck continues to don the cowl with a confidence that makes his Bruce Wayne one of the best brought to cinema screens. Affleck does a good job keeping the character from ever feeling too quippy while bringing the brooding we saw in Batman v. Superman down a notch. Even though I don't feel his performance here was quite as impressive as his last outing (possibly because he seems disinterested in the franchise with the announcement he'd like to segue out of the DCEU in a cool way), I also feel like he didn't phone it in.

Next up, there's the Amazon warrior, Wonder Woman! Gal Gadot proves once again she was well-cast and embodies all of Diana's intrepid, admirable attributes with a performance that's both fierce and down-to-earth in her more vulnerable moments. If you've liked what you've seen of Wonder Woman so far in her own standalone movie or even the third act of Batman v. Superman, you'll be more than happy with her here. The only gripe I have related to her character whatsoever has absolutely nothing to do with Gadot, but rather the way the camera's angled around her character... I noticed numerous "butt" shots where the camera was positioned very low and angled upwards looking STRAIGHT at her rear, which just felt like a step backwards to me in regards to properly portraying a female superhero when you consider how successfully Wonder Woman didn't sexualize her. There's also one joke that will probably rub some people the wrong way, but I honestly didn't mind because it's a quick "it happened and it's over" thing.

Third is the robust Atlantean, Aquaman. For his first outing, I've got to say Jason Mamoa fit comfortably as a rougher, tougher Aquaman than the version general audiences are familiar with from say... Super Friends. Anyways, Mamoa's rockstar attitude will really radically change people's perspective on the character as he does some awesome things. 

Following suit is the cybernetic Cyborg. Ray Fisher was one of the actors I was most concerned about, simply because I was worried the character might come off as monotonous and robotic, but Fisher really nailed grounding the character without getting lost underneath all the CGI. Fisher truly felt half cybernetic and half human, and I quickly got over his unexceptional aesthetic that alarmed me in the trailers.

Among the cast, I've got to surprisingly say that Ezra Miller was actually the runaway star as Flash! The Flash is my favorite DC Comics character, so I was obviously excited to see a cinematic take compared to the one currently on television, but I was seriously concerned with how this portrayal of the scarlet speedster was going to turn out based on the trailers and everything I'd seen previously. Thankfully, Miller lightens the mood in just the right way as his screen presence really electrified the experience for me and most of his humor landed.

**Spoiler Warning**

Last, but certainly not least, there's Superman. I've placed him in the spoiler section because quite franky, his return is a spoiler, no matter how obvious it was... At any rate, he's back... and better than ever!! If you're someone who's been continuously dissatisfied with Henry Cavill's take on Superman, then don't fret... This is the Superman you've been waiting to see! While the circumstances behind his return were completely contradictory to everything I'd possibly imagined, it made sense and I felt it was handled well for the most part. My only gripe was that his change of heart came a little quicker than I'd have liked. I understood that Lois snapped him out of his funk, but it all still seemed sudden to me once he got to his farm. Also, it was a little weird how calmly Lois and Martha accepted his return... Like they just kind of shrugged it off as though it was some everyday occurrence... 

Anywho, there's the whole mustache debacle that's off paramount importance to this review! If you didn't already know, Henry Cavill is in Mission: Impossible - Fallout and his character has to have a mustache for that film. Well, Justice League reshoots lapsed with a break in filming for M:I 6 when Tom Cruise got injured on set. Warner Bros. was presented with two alternatives, either shave the stache and foot the bill to digitally add it in on M:I 6 or to digitally remove it themselves... While those obviously weren't the only options for the studio, Warner Bros. decided to remove it digitally for whatever reason. Perhaps I wouldn't have noticed if it weren't for all the reports about it, but there's clearly something off about Henry Cavill's upper lip, and it just doesn't look right... If you're wondering what I feel the studio should have done, then look no further for I think they should have just filmed with the stache all the way!!! I think a petition should be drafted demanding a Mustache Cut of the film or at least a Blu-Ray featurette all about removing the mustache! Also, the above picture is photoshopped and not at all legitimate... but the mustache story is... I promise. 

**End of spoilers**

Then I suppose I must mention Steppenwolf, only the most generic antagonist imaginable. I'm completely apathetic towards the character because I didn't have high hopes for him as a villain anyways, and I'm perfectly okay with that if the villain stinks on account of focusing attention towards the heroes. Ciarán Hinds voices the CG-creation and does everything he can, but the lack of setup and screen-time for the character renders his work useless. I've seen many people pointing to him as one of the worst comic book movie villains ever made, but I find that to be an absurd over-exaggeration when you look at his competition... Enchantress alone makes him bearable in comparison, and that's not even factoring in anything from Batman & Robin... Oh, and there are also two post credit scenes well worth watching... I'm not sure the movie will still be in theaters when this review's out, but at least you know!

The worst thing I can say about Justice League is that the film doesn't quite do justice to its classic characters as their first onscreen team-up. Regardless of its faults, the film is a heck of a lot of fun though, and I think that's what really matters at the end of the day. Do I want to see what Snyder's version would have been like? I'd love to see some semblance of an extended cut to flesh things out, but a version fully realizing Snyder's vision seems unlikely for budgetary reasons. Justice League may not have lit up like the bright beacon in Gotham City shining for the Caped Crusader, but it still shined as an enjoyable effort that entertained me while leaving me excited about the DCEU's future films... Bring on Aquaman! Bring on Wonder Woman 2! Bring on Flashpoint! Bring on The Batman! Heck, bring on Cyborg! BRING ON Justice League 2!!! That is, if this franchise is going to continue...

Film Assessment: B-

'Wonder Woman' Review

Wonder Woman recounts the origin story of trained warrior and courageous princess Diana who has grown up among the fierce female race of Amazons on the sheltered tropical island Themyscira. All is well on the secluded paradise till American intelligence officer Steve Trevor crashes off the island's shore, the first instance of man entering the mythic realm. Trevor is retrieved by the Amazons and in turn tells them of the ongoing power struggle outside their island, World War I. Diana then decides to disobey her mother's commands and accompanies Trevor on a quest into man's world with intentions to end the conflict at hand, discovering her exceptional abilities and fated destiny along the way.

I'll be honest in saying I was cautiously optimistic for Wonder Woman since I was burned thrice before by DC with Man Of Steel, Batman v Superman: Dawn of Justice, and Suicide Squad. While Wonder Woman's marketing material has been stellar from the outset of its promotion, much like Suicide Squad, the DC Extended Universe's spotty track record was enough for me to temper my expectations. I did however maintain hope that Wonder Woman would be the film to turn everything around for DC considering Patty Jenkins was directing and it seemed more standalone in nature, and it is with great pleasure that I'm able to reassure any skeptics that Wonder Woman is truly wonderful! 

Director Patty Jenkins shepherds the Amazon into her own corner of the DC universe so the two can brief moviegoers on the influential heroine's humble beginnings. Jenkins had a difficult task at hand in meeting a broad appeal that didn't favor men or women and she struck the right chord. The supporting male characters are never downplayed in favor of some feminist agenda and there are moments exemplifying Wonder Woman's heroic qualities that offers an ideal representation of female empowerment without overdoing the girl power. Jenkins makes it clear from the start that this will be a tale for everyone to enjoy by infusing Wonder Woman with a sense of hope and optimism, something that's lately been lacking from DC films. 

Jenkins and her cinematographer Matthew Jensen quickly break the mold of DC's gritty/grungy aesthetic with the lush locale of Themyscira. The vivacious color palette of Themyscira is easily the most vivid venue to be seen in the DCEU thus far, managing to look like a plausible place while maintaining a guise of mysticism. This is even further accentuated when contrasted to the nasty No-Man's land and murky London skyline. The visual effects and production design showcased also are a step above DC's usual display, making a breathtaking backdrop to the insane action.

If you thought that Wonder Woman would skimp out in the action department because it was directed by a woman, then you were way off because the action sequences constructed by Jenkins and her stunt team are absolutely incredible! Scenes of the Amazons sparring, a beachside invasion, a trek through No-Man's Land, and an all-out melee in the third act will all astound viewers based on looks alone. It's worth noting that Jenkins and editor Martin Walsh utilize quite a bit of slo/fast-mo in these sequences that can grow a bit repetitive for those not in favor of that technique, but it adds a visceral energy that only intensifies the excitement. This vitality is then dialed up another notch by Rupert Gregson-Williams' potent compositions and Hans Zimmer's pre-existing exuberant Wonder Woman theme. 

Despite Wonder Woman's ability to leaps bounds above the other DCEU installments, I'm fairly certain that Wonder Woman will draw criticism from its startling similarities to the period piece war backdrop featured in Captain America: The First Avenger and the fish-out-of water story told in Thor. There will be numerous comparisons between them (especially with The First Avenger), but I assure you Wonder Woman is very unique when it's all said and done.

Wonder Woman features a screenplay penned by Allan Heinberg, who received some assistance from Zack Snyder and Jason Fuchs in writing the story treatment. Heinberg's script works well and it's not because it revolutionizes the superhero origin story, but rather because it understands the lead character. Diana's easily the most heroic DC character to galavant onscreen in quite some time and pairing Diana opposite the horrific scrim of World War I really brought out her valiant nature. It's also incredibly refreshing to see a female character in a superhero movie that's not a damsel or obvious eye candy, but a fully realized character. While Marvel has Black Widow and Scarlet Witch, DC had yet to truly deliver one of those till now.

Allowing Diana to enter man's world not only accentuates her character but it provides a suitable opportunity for humor thanks to the fish-out-of-water element and I laughed at nearly every joke the writers threw at me. The romantic relationship between Steve Trevor and Diana felt fully fleshed out and strayed away from feeling unbalanced, which was something I feared. Steve probably saves Diana as many times as she rescues him so while Diana's clearly more capable than Steve thanks to her power-set, she learns a thing or two from him on her expedition.

Wonder Woman does admittedly run into a little trouble in its third act with a chaotic, needlessly elaborate final fight. The film's villains also feel slightly underdeveloped with vague motivations, which weren't exactly convincing to begin with. The third act CG isn't the greatest when compared to the remainder of the flick, but it worked for everything Jenkins was striving to achieve. Outside of those minuscule nitpicks, Wonder Woman doesn't encounter too many other issues and easily outweighs those cons.

The cast assembled for the Amazonian's first feature film is one to behold and they step up to the legacy the comics set before them. When Gal Gadot was first cast as Wonder Woman, fans were quite contentious about whether she was the right choice for the role considering she was almost entirely known for modeling at the time. Even after a scene-stealing appearance in Batman v Superman, no one really quite had a grasp of the character since her powers and characterization were left a mystery. Thankfully, Gadot walks a fine line as Wonder Woman and proved up to the task of meeting the physical demands of the role as well. Gal Gadot imbues Diana with compassion, strength, and virtue making her the ideal female role-model and exemplary incarnation of the female icon.

Chris Pine brings charisma aplenty to Steve Trevor as an endearing action hero and likable love interest opposite Gadot. Pine and Gadot exhibit an interesting and sincere dynamic, unlike most comic book couples as the two share an undeniably unique chemistry. Lucy Davis also tags along as sociable supporting player Etta Candy, showcasing some solid comedic chops along the way.

Connie Nielsen and Robin Wright play the predominant Amazonians as the lionhearted General Antiope and confident Queen Hippolyta. Both actresses serve as influential up-bringers and memorable maternal figures for Diana, demonstrating courage and kindness in the best ways imaginable.

Ewen Bremner's anxious sniper Charlie, Saïd Taghmaoui's ladies man Sameer, and Eugene Brave Rock's soft-spoken Chief each added delightful personas to Trevor's squad and stood out as captivating supporting players among the larger ensemble. Elsewhere Danny Huston, Elena Anaya, and David Thewlis adequately act the archetypes of the hardened General Erich Ludendorff, tortured Doctor Poison, and inscrutable Sir Patrick. In regards to references, there aren't too many easter eggs that I noticed aside from the obvious origin story beats and there's no post credits scene, but do look forward to a new DC logo opening up the proceedings. There's absolutely no question about it, you should definitely check out Wonder Woman this weekend! I know I'll be seeing it a few more times!

Turns out Wonder Woman had more in her arsenal than I suspected with dedicated direction, vibrant visuals, astonishing action, powerful performances, and charming characters. She didn't even need to use her Lasso of Truth to coerce me into acclaiming Wonder Woman as the greatest DCEU entry to date, the foremost female lead comic-book movie, and the best DC film I've seen since The Dark Knight! 

Film Assessment: A-