SPOILERS
Well, I actually thought that was
pretty good. It's no secret that Justice League's
had a troubled development, and the internet at large has been
seriously down on it, but really, that was an enjoyable way to spend
two hours. The obvious comparisons are its predecessor Batman
vs. Superman and the two
Avengers films (plus
Captain America: Civil War for
the team-up elements). I'm a bit of a B.vs.S apologist
– it's not nearly as bad as people say – but it's certainly a
long way from being a good film. Justice League is
a major improvement on it, in terms of pacing, characterisation and
dialogue, and it thankfully doesn't drag on for three hours.
Zack Snyder left after a large portion
of the film was in the can, due to a family tragedy, and Joss Whedon
was brought in to complete it. Warner Bros. appears to have taken
this opportunity to lighten up the DCEU, and it's no bad thing.
League has a good deal more humour and heart than either of
Snyder's previous DC movies, and it really, really helps. There's a
lot more to love than in B.vs.S. or Man of Steel, and
while some areas do have a little bit of clash, for the most part, it
feels to me that those moments where the humour undercuts the action
are deliberate.
The most obvious join is the mysterious
case of Henry Cavill's moustache. The actor had grown a tache for
Mission Impossible 6, and when he got called back for reshoots
on League, Paramount steadfastly refused to let him shave off
the facial fuzz. Warner Bros. Even offered to pay for Paramount to
add the tache back on (it's not as if it had to be digital, false
moustaches are not an uncommon thing in acting). In the end, they had
to remove the tache digitally. It looks terrible. Digital reworking
of actors' faces has come a very long way in recent years, but it's
still not quite there, and mouths are the hardest part to make
believable. It's a disconcerting trip to the uncanny valley for a
movie that really needs to get audiences back on side with the
character.
DC/WB made a very strange decision in
its attempt to ape Marvel's lead, jumping straight to the team-up
movies and foregoing much of the introduction for the characters.
That said, the fast-tracked intros for Aquaman, Cyborg and the Flash
work pretty well here, although it seems clear that there was a lot
of material cut from these sequences. Cyborg and the Flash are pretty
easy sells; their backstories are straightforward
science-gone-wrong/chip-on-the-shoulder deals and it's not hard to
get an audience up-to-speed on them. Anyone who reads my stuff knows
I'm a big fan of the Flash, and I really like Ezra Miller as Barry
Allen. He's a tremendously likeable character in a film that is full
of not-particularly-likeable superpeople, and it's easy to see why
Whedon upped his share of the dialogue. The Flash posed an
interesting visual challenge as well, given that there's now been
four years of the character on TV, plus two versions of Quicksilver
in Marvel-based films. The X-Men version
of Quicksilver had him sauntering through a slo-mo world, while the
TV Flash is visually running at incredible speed. League
has gone for a more visually
elaborate approach, with lots of speed lightning and the Flash
visible moving through a slightly different dimension. It works well,
and stands out against the other screen speedsters.
Ray Fisher is excellent as Victor
Sloane the Cyborg, not so immediately likeable but sympathetic,
tragic and heroic, and I'm looking forward to his stand-alone film,
should it happen. Aquaman, on the other hand, is a ridiculous
character. He's an underwater superman who wears gold and talks to
fish. There were two ways the film makers could have dealt with this,
one of which was to send up the character like in The Brave and
the Bold. They took the other route, casting Jason Momoa to
swagger and smoulder his way through the film as the sexiest Aquaman
ever. It works, although they do let Bruce Wayne poke fun at him
occasionally.
I'm still a big fan of Batfleck; I hope
that, if they do eventually make The Batman, they keep him on.
He's got just the right level of square-jawed scowliness. Henry
Cavill and Amy Adams are largely wasted, but they still have good
chemistry when they do finally share some screentime. Gal Gadot is
still the best thing in the DCEU and they're lucky to have her. She's
heart and soul of this film, although the script doesn't have an
issue with pointing out her flaws, like the fact that she spent the
better part of a century hiding out and sulking. (And when Batman
tells you off for sulking, you really know you're sulking.) The
opening sequences where Wonder Woman takes care of some
Anglo-terrorists was apparently added on late in the day, but when
you've got someone like Gadot, you make the most of her. Although her
arse should probably get its own credit, given how much time the
camera spends on it.
The storyline is a bit messy, but the
core of it works well. The Mother Box (or as we started calling it,
the Martha Box) is the superpowered MacGuffin, being the objective
for the villain of the piece, the origin of Cyborg, and the key to
resurrecting Superman. It's a strong hook to hang the plot on, even
if much of the rest of it is unfocussed. The villain himself is less
successful. Steppenwolf is a pretty obscure monster, and could have
been made into whatever the script needed, but he's a very generic
power-mad conqueror here and looks like he just stepped out of a
videogame. Ciaran Hinds does some nice voice work, though, and
Steppenwolf serves his purpose as a force for the heroes to rally
against. His insectoid minions look pretty good too, even if there's
no consistency to how widespread or powerful they are. (Seriously,
Steppenwolf can open wormholes and the parademons can tear down
concrete walls, but they can't get into a wooden house with windows?)
The broader cast are generally
impressive too. Jeremy Irons is pretty great as a world-weary Alfred,
and J.K. Simmons as Commissioner Gordon is a stroke of minor genius.
Joe Morton is great as Silas Stone, father and creator of Cyborg, and
is wisely kept as part of the storyline for as long as feasible.
There's the definite sense that a lot of material for these actors
was lost as part of the reshoots and trims, but it's left us with a
slicker, more enjoyable movie, so it's probably worth it. Perhaps
we'll get a director's cut someday.
The film's score has also been the
victim of creative changes behind the scene, with Hans Zimmer
initially signed up before retiring, and Junkie XL taking over before
being kicked off the project in favour of Danny Elfman. The result is
surprisingly decent, with some lovely asides to previous DC works.
Elfman evokes his own Batman theme for Bruce's scenes, the
John Williams score for Superman for Clark's, and even the
theme for the CW series of The Flash, and, of course, Wonder
Woman's theme from B.vs.S. It could have been a mess, but it
works well.
Justice League is a lot of fun,
and while DC/WB have been chopping and changing their plans based on
audience response to previous films, I hold hope that they stick to
their guns and follow through on the elements introduced here. The
Green Lantern Corps. get a cameo, Darkseid and the New Gods are
mentioned and, after the credits have rolled, Deathstroke turns up
for a chat with Lex Luthor, thankfully missing up till now. I still
think Jesse Eisenberg is dreadfully miscast as Luthor, but he might
just work as part of the Legion of Doom/Crime Syndicate/Injustice
League or whatever. Here's looking forward to some more fun films
from DC in future.
No comments:
Post a Comment