'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-

Top 10 Films of 2017

It's that time of year again where I reflect on all the films I've watched and reviewed to tell you my ten favorites. I made an effort to see a majority of the films released this year, but naturally I missed out on some for various reasons. This year I saw and reviewed 71 films in total, but I'll still publish my thoughts on anything I missed once I see it. In my ranking, I'll have a couple sentences to sum up my thoughts on each film and why I feel it earned a spot on my list. I have reviews uploaded for each one, so if you're interested and haven't done so already, you can read my more in-depth thoughts by clicking the blue title once you're done perusing my list. 

I'd also like to preface my list with a few things for you to consider as you read. First of all, this is my subjective list. Not an objective one. That list would probably look a lot more like the list of Best Picture nominees coming next month, and quite frankly, I don't think any of you are interested in seeing those same exact films appear here. These are the ten films that stuck with me most when the year was all over for an abundance of reasons I'll get around to explaining in a second. Another thing regarding my list is that this is MY list. You're likely and liable to disagree with some of my picks, but that's because film is subjective and speaks differently to everyone. Also, it's a high distinction to be an Honorable Mention. Those films are the ones I struggled leaving off the list, but feel deserve some sort of shot-out, so don't think that I disliked a film because I put it in there. The final thing I'd like to say is that just because something is left off my list doesn't necessarily mean I hated it... I just liked these other films even more when all was said and done. 

Top 10 Films of 2017

Honorable Mentions (Alphabetical order): The Big Sick, The Disaster Artist, Dunkirk, Get Out, I, Tonya, The Killing of a Sacred Deer, Lady Bird, The LEGO Batman Movie, and Spider-Man: Homecoming.

10. Wonder Woman

In spite of a lackluster villain, a third act that's not quite on par with the rest of the film, and the baggage of being part of the larger DCEU, Wonder Woman defied all odds to emerge as one of the year's most entertaining blockbusters! Gal Gadot shines here by imbuing all of Diana's best qualities, Chris Pine stands out as a charming love interest, Patty Jenkins did an exceptional job directing her first big budget project, and Rupert Gregson-Williams' score is absolutely electrifying. I know there's been some backlash from a vocal contingent, but I genuinely feel it featured some of the year's most exciting action scenes and took huge strides forward in properly depicting a female superhero. 

9. Three Billboards Outside Ebbing, Missouri

Three Billboards Outside Ebbing, Missouri is one of the year's strongest films for so many reasons, but it stood out to me because of how well it balanced the extremes of dark comedy and drama while discussing the adverse effects of anger. It also didn't hurt that it was well-written, well-directed, and features plenty of powerhouse performances.

8. Wind River

Of all the films released this year, Wind River was probably the biggest surprise for me. I was hoping it'd be good of course, but I had no idea Taylor Sheridan would leave such a harrowing impression. Like the icy Wyoming landscape presented to the viewer, Wind River is cold and unforgiving with a message audiences will have a hard time forgetting.

7. Coco

Pixar never ceases to amaze me with their ability to tell such emotionally-driven stories through the visual medium of animation. Coco stands as an exemplary reminder of everything the studio is capable of whenever they set their hearts and minds to it. Coco's not only one of the best of the year, but one of their best original films to date thanks to all it had to say on the importance of family and culture while also ensuring audiences enjoyed themselves.

6. War for the Planet of the Apes

Trilogies don't always land on solid ground with their third installments, but War for the Planet of the Apes cemented the Ceasar trilogy as one of the greatest cinematic trilogies ever made. It was epic, emotional, and never lost sight of the series' values. Andy Serkis delivers one of his best motion-capture performances yet while the WETA visual effects team presented some of their best work ever. After it was over, I couldn't fight the desire to bow down and hail Caesar.  

5. The Shape of Water

The Shape of Water is such a beautiful film in so many ways. It's got an attractive aesthetic, important messages to impart, and most impressively, it tells a surprisingly deep love story without either of the two love interests uttering a word. It's simply one of those films that reminded me why I ever fell in love with cinema.

4. Logan

I grew up watching Hugh Jackman's Wolverine for seventeen years. He's genuinely one of the best cast comic book movie characters ever... Knowing he was leaving the role for good was saddening in and of itself. However, Logan was everything Hugh Jackman's sentimental send-off needed to be. It was raw, emotional, and character driven all the way through. It upended the comic book genre by going the way of the Western and it worked extraordinarily well. I'm not even a huge fan of the character of Wolverine, but I consider it to be the greatest comic book movie ever made, and the only one aside from The Dark Knight to truly be deserving of major awards contention.

3. Baby Driver

In a year filled with sequels, reboots, and comic book adaptations, Baby Driver was something entirely original from the brilliant mind of Edgar Wright. It had a tank full of heart, humor, and unpredictability that made it stand out as something truly special amongst the hub-bub of summer blockbusters. I can't say it enough, but this film floored me. Wright's determination to meticulously match the diverse soundtrack full of rockin' tunes with all the insanity occurring onscreen is commendable alone. The fact he managed to pull that off while telling an engaging story about such charming characters only goes to show he's not a creative force to be reckoned with.

2. Blade Runner 2049

Few directors can consistently deliver intellectually and emotionally stirring work, but Denis Villeneuve kept up his streak with Blade Runner 2049. Blade Runner 2049 is simply a masterwork in more ways than one. It's one of the most beautiful films I think I've EVER laid eyes on thanks to Roger Deakins, it features my favorite film score of the entire year from Hans Zimmer and Benjamin Wallfisch, and it expands its world in organic ways while telling a fascinating story. I'm absolutely positive Blade Runner 2049 will become an influential source for many up-and-coming filmmakers.

1. Star Wars: The Last Jedi

Star Wars: The Last Jedi split the fanbase right down the middle, and surprisingly wound up being one of the year's most divisive films. You all know where I stand by now, but I was completely taken aback by the rift between fans. It's weird because I watched something that was utterly astounding on so many levels, while others talk about it like they saw something straight out of a trash compactor. Writer and director Rian Johnson dared do to be different and deconstruct Star Wars like no one ever had, and I think it paid off in spades.

'Professor Marston and the Wonder Women' Review

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

Professor Marston and the Wonder Women tells the true story of the coupled psychologists William Moulton Marston and Elizabeth Marston as they become involved in an unconventional romance with their instructional assistant Olive Byrne. The film then tells how the polygamous relationship inspired the creation of the one of the most iconic female comic book characters ever created, Wonder Woman, and the forgotten controversies surrounding her existence.

Wonder Woman had a big year in 2017 as it marked her 76th anniversary and the release of her first feature film that blew the lid off the box office and garnered nearly unanimous praise from critics, Wonder Woman. It seems like the release of a film outlining the story behind her inception couldn't have possibly come at a better time. I'll admit the scoop on Wonder Woman's creation was the drastic draw for myself, as I'm sure it will be for most people who watch the film, but viewers approaching Professor Marston and the Wonder Women should be cautious of the fact that the film is more about the circumstance surrounding the creator than the creation of the comic itself.

Written and directed by Angela Robinson, Professor Marston and the Wonder Women centers on an unordinary romance, but refuses to treat it as such. I think that for the purposes of this film, it makes sense for Robinson to avoid ostracizing the trio because the character's predicament is normal from their own point-of-view. While this sort of relationship would still be deemed peculiar today, it was firmly frowned upon then. Despite not agreeing with the concept of polygamy myself, I can't deny that the film's exploration of it was fascinating.

Luke Evans, Rebecca Hall, and Bella Heathcote each are able authenticate the idea three different people could love each other equally. You buy into their love because they do too. While Evans' portrayal of William Moulton Marston is quite charming, Heathcote and Hall are the ones who run away with the movie. Heathcote imbues Olive with both shyness and strength so that it's understandable how multiple people could be easily infatuated with her. Hall, on the other hand, is afforded an opportunity to express some exceptional acting chops as Elizabeth, and she delivers.

One thing that can't be ignored anytime a film's "based on a true story" is just how accurate the adaptation is contrasted to the real events. Usually it's difficult to tell, but it's always a fair assumption that certain moments were dramatized for the purposes of invigorating the story. Well, it turns out that's the case here as Professor Marston and the Wonder Women's accuracy has fallen under question by William Marston's granddaughter and other family members. Apparently, the family wasn't consulted in the making of the film, a conscious choice on Robinson's behalf so she could explore the story through her own eyes. That decision just seems incredibly odd to me, because you think there'd be a lot of insight to gain from involving the family along the way. Plus, it'd spare you the trouble of hearing any of the family member's outcries against the film later on.

Professor Marston and the Wonder Women works well for what it is (even if that means it's a conventional bio-pic), but the film isn't quite as bulletproof as Wonder Woman's bracelets. The first two acts steam full speed ahead with the romance angle, but everything derails in the uneven third act. Once the film gets to the comic book's origin, the pacing gets all out of whack as some segments feel rushed and others are unnecessarily drawn out. The runtime itself is approximately an hour and forty-eight minutes, but it admittedly felt much longer than that because of superfluous material. One other thing that bothered me was how the actors didn't appear to age at all in the twelve years presented by the film. I understand aging makeup is tricky and all, but it's like as if no one even bothered. 

Professor Marston and the Wonder Women is certainly an interesting watch, in-spite of its unsure accuracy, but my greatest takeaway from Professor Marston and the Wonder Women was the realization that Wonder Woman has long since evolved past Marston's conceived notions to become a more fitting feminist icon for today. 

Film Assessment: B-

'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-