The most notable restoration, from a character perspective, is the Cyborg script. It mirrors (without duplication) all of the other stories of characters with mixed feelings about their parents and upbringing: see also Bruce Wayne’s relationship with his butler / surrogate parent Alfred (Jeremy Irons) as well as the memory of his father and mother murdered; Clark Kent’s relationship with his holy mother, Martha (Diane Lane), and the late Jonathan Kent (Kevin Costner) and Jor-El (Russell Crowe); Wonder Woman’s feelings about leaving her family, island, and culture (and their feelings about leaving); Aquaman’s resentment of being a two-species hybrid, torn between two worlds and feeling abandoned by both; and Barry’s tortured relationship with his incarcerated criminal father (Billy Crudup). Fisher’s performance is the best in a movie filled with strong actors. Cyborg’s resentment towards his scientist father (Joe Morton, aka Skynet’s dad in “Terminator 2”) is built with empathy and care, and paid off in a truly moving climax that offers redemption without quashing ill will. Also noticeably improved: Grizzled and Tired Batman from Affleck’s World, which channels the burnt Clint Eastwoodian Dark Knight from Frank Miller’s 1980s comics; and the relationship between Clark Kent and Lois Lane (Amy Adams) that delves deeper into heartbreak than any DCEU movie, strikes idealistic romantic notes reminiscent of the Christopher Reeve era, and even enters the “Monkey’s” aspect. Paw “to bring a dead superhero back to life.
Yes, there is a plot: basically the same as in the first “Justice League”, and for that matter, the “Avengers” movies: a superhuman, megalomaniac villain wants to access a source of time-dominant superpowers and space, and can only get it by tinkering with scattered items (six Infinite Stones in the MCU series, three magic boxes in this movie). But the plot might be the tenth most important thing on the mind of this movie, if it is. This is the definitive cut to the tale, not just in terms of canonical events and actions (“Aquaman” director James Wan and “Wonder Woman” series director Patty Jenkins both said they consulted Snyder on continuity), but also aesthetic purity. Some scenes have been moved and / or remodeled, others have been restructured or added, and everything has been lengthened. But what fits most strongly is the film’s sense of space and place, which might lead one to wonder if many of the (substantiated) complaints about Snyder’s other superhero images stem from the commercial imperatives of this level of budget and from its own sensitivity being in contradiction with each one. other.
Let’s take a moment and talk about how the film looks, because that’s the key to what makes the project feel unified. “Zack Snyder’s Justice League” is shot in the square ratio, roughly 4×3 “academy,” rather than the narrow and wide format preferred by most epics. Snyder chose it because the IMAX frame happened to be this shape, and then he decided to frame the non-IMAX photos that way for consistency. The result has the subtle psychological effect of making this new work feel mysteriously “old.” This perception is amplified by Fabian Wagner’s cinematography, which emphasizes the vertical over the horizontal, leaves a lot of negative space around the faces and bodies of the actors, and is not afraid to put wispy filters on close-ups and create smeared or halo-shaped light effects. that make things dreamy or metaphorical rather than “real”.