Respond to these rapid questions in our Justice League quiz and we will tell you which Justice League character you are. Play it now.
When it comes to a film about a group of superheroes attempting to prevent extraterrestrial demon-beasts from wiping out humanity, “Justice League” is surprisingly light on its feet, sprinting through the origin story of a super-group in less than two hours, giving its ensemble plenty to do, and largely avoiding the self-importance that has plagued previous entries in this franchise. Excessive moping and brooding tends to be the downfall of most dark superhero films, with the exception of Christopher Nolan’s Batman trilogy, “Logan,” and a few other dark superhero films. Although the film takes a different route to a similar destination, it will suffer in comparison to “Thor: Ragnarok,” another knockabout superhero adventure, it is unfortunate that it was released on the heels of “Thor: Ragnarok,” another knockabout superhero adventure, because it will suffer in comparison to that film’s critical reception.
However, “Justice League” falls short of the visual innovation of the latter film, and it suffers from fundamental script problems that never seem to be resolved. Another challenge is figuring out how to balance the screen time of familiar faces from previous films, such as Batman (Ben Affleck), Wonder Woman (Gal Gadot), Lois Lane (Amy Adams), and Superman (not a spoiler; Henry Cavill’s name is on the poster, folks), against another standard-issue, roaring-and-stomping bad guy (Ciaran Hinds’ Steppenwolf, leader of the Parademons), and three major new characters (Ray Fisher). What brings these heroes together is an impending invasion of earth by Steppenwolf, who is attempting to recover and merge three magic boxes that will grant him ultimate power and terraform the planet, among other things. But who cares? It doesn’t really matter. Seriously.
Overall, this is an ensemble adventure that is nearly as satisfying (and humble in its goals) as the “Avengers” movies, if not more so. It appears to have figured out that a mega-budget superhero film can be serious without acting as if humor, sentiment, and even color are inherently childish, as was the case with the recent “Thor.” With “Justice League,” director Zack Snyder bridges the gap between his kinetic, cruelly funny “Dawn of the Dead” remake and “Sucker Punch” and his more somber, depressive epics like “300,” “Man of Steel,” and “Battle of the Sexes.” There are moments in the film where The Flash can provide wide-eyed, often bumbling comic relief, much like Spider-Man did in the second half of “Captain America: Civil War,” and Batman can call Aquaman out on his use of a “pitchfork” (which is actually a trident) in the middle of a battle. Not only that, but it’s also the kind of film in which every member of the Justice League—as well as Lois Lane and Diane Lane’s Martha Kent—can have a heartfelt “spotlight” moment in which they confess to withdrawing from life or putting up a tough facade to cushion the pain of loss, and know that the other characters, as well as the movie itself, will take their anguish seriously. It appears that Steppenwolf is dealing with a version of this problem, as he harbors a grudge against Earth as a result of having been publicly humiliated thousands of years ago.
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Even though the scenes depicting Lois and Clark’s reconciliation are brief, they are sensitively depicted. In almost the same vein, the return of Batman, a miserable loner who appears to have been shocked into sensitivity (at least as much sensitivity as Bruce Wayne is capable of) by the death of Superman, an event for which he accepts primary responsibility, is almost as moving. At times, you wonder if his goal of putting together a team isn’t so much about rescuing the planet as it is about creating a circle of friends and giving himself a reason to check in with them on a daily basis. It’s easy to like the greying, thickening Affleck in this role because he embraces his old age, exaggerating the character’s more serious injuries and making light of the fact that he’s no longer the Batman he used to be.
Justice League Quiz
The film opens with a slew of cliches, including a bleached-out color palette, a funeral in the pouring rain, and a mopey, piano-driven rendition of a dark pop anthem (in this case, Sigrid’s cover of Leonard Cohen’s “Everybody Knows.” The BummerVision filmmaking, on the other hand, proves to be an aesthetic setup for a worthwhile payoff: “Justice League” gradually adds wit, invention, color, and warmth as it progresses, a strategy befitting a story about characters (and a world) waking up from emotional sleep and learning to take risks and treat others with respect again. A number of the film’s major themes are worn on its sleeves, or breastplates, and are expressed through on-the-nose dialogue and overtly metaphorical images, such as the climactic shots of flowers blooming in vibrant color and a stirring image of two Amazon warriors, representatives of a society bearing an unimaginable burden, bracing their shoulders against a closing stone door like sisters of Atlas, respectively. Nevertheless, that is exactly what films like this do, just as Westerns, zombie films, and other genre films did before them. When it comes to working in that mode with skill and a poker face, “Justice League” is an excellent example to follow.
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In part, this is because Snyder and company established that Superman’s death plunged the world into a fog of despair, superstition, conservative politics, and revolutionary-flavored violent crime after which he was unable to return. Assuming that the big blue marvel is, as the trailer for “Batman v. Superman” suggested, something along the lines of a god, this means that God is temporarily dead when our story begins (his allure shattered into pieces like that giant statue of Kal-El), and therefore cannot keep watch over us. In the absence of God, mortals and immortals who are weaker, meaner, and more opportunistic can feel emboldened to carry out their worst intentions. As intriguing as these aspects of the film are, one wishes that they had been explored in greater depth, along with the allusions to rising religious fundamentalism and the straightforward equating of Steppenwolf to Satan, a creature of raw chaos and viciousness who steps into a power vacuum. (“Praise be to the mother of horrors!” he exclaims triumphantly). However, if the film is a potluck stew of half-cooked ideas, it is at the very least a delicious one.
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Despite the fact that Ezra Miller’s Jeff Goldblum-like incarnation of the Flash is the most shameless crowd-pleaser, Wonder Woman is the film’s most shameless crowd-pleaser, and she takes the film by the belt loop and walks away with it. Wonder Woman’s character isn’t purely reactive, and the filmmakers don’t sell her out. “Justice League” mishandles the Amazons to give the film an early jolt of high stakes drama, teases the idea that Batman and Wonder Woman will become a couple (but thankfully doesn’t pursue it), and allows Wonder Woman to become an unofficial mommy to the rest of the Justice League, armored men whose competitiveness and wiseguy insults make them seem like over It is the same electric charge that earlier generations received from watching Christopher Reeve play Superman/Clark Kent that is delivered by Wonder Woman’s decency, compassion, and moral certitude in this film. Her goodness is genuine; it is not an act. It’s just a part of her personality.
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It’s discouraging to watch “Justice League” struggle to get out of its own way because, when it does, the film sheds the burdens of its notoriously troubled production and emerges as something truly remarkable. It is not the responsibility of a film reviewer to provide an exhaustive account of what went wrong, but it is reasonable to assume that the studio’s sudden, post-“Batman vs. Superman: Dawn of Justice” insistence that the story include humor and camaraderie did not help the filmmaking process. The death of director Zack Snyder’s daughter in March 2017 forced the film’s post-production to be overseen by Joss Whedon, who had already been hired for rewrites. Whedon oversaw the CGI removal of a mustache that Cavill had grown after the shoot had concluded—a dubious technical triumph that resulted in some strange-looking close-ups. It’s anyone’s guess how much of a role Whedon will play in this rescue operation. Whatever the case, the final product is coherent: funny but never glib, serious but unpretentious, and far superior to what it had any right to be in every way.
For more personality quizzes check this: Thor Ragnarok Quiz.
