ZACK SNYDER’S JUSTICE LEAGUE: THE THEATRICAL CUT IS DEAD, BURY IT!

The Snydercut’s road to HBO Max has been a long and hard one, for Zack Snyder and the fans who wanted to see his vision fulfilled. It’s been over 3 years since the theatrical cut was released and at some point, the idea that we would ever see the Director’s cut, felt like a pipe dream. But thanks to the perseverance and commitment of the millions of loyal supporters behind the #releasethesnydercut movement, it finally happened and it did so in a BIG way.

Back in 2017 when I stepped into the theatres to see Justice League, this was the movie I expected to see; the big payoff, the movie that was going to bring Man of Steel (2013) and Batman vs Superman (2016) full circle and introduce a whole host of DC characters. However, what we got was one of the most underwhelming films I had ever seen in my life, I thought it was the worst, most singular thing to happen to comic book movies at the time. It was a disjointed, cheesy, soulless and immemorable piece of film and I wished it didn’t exist. You can check out my thoughts on the film right here. I am delighted to see Zack’s original vision and canon restored, but also to see it knock it out of the park creates a deep feeling of satisfaction for me and many comic book movie fans. Those who never saw the theatrical cut are truly, the luckiest ones.

NON-SPOILER REVIEW

Wait, isn’t it the same film?

I want it up in lights like this, S-N-Y-D-E-R-C-U-T

Well for starters the Snydercut is the original piece of film that was made back in 2017, before Zack Snyder stepped down after the death of his daughter Autumn. After his departure, Warner Bros. Execs brought in Joss Whedon, the man who made the successful Avengers films to complete the film and make extensive changes, as they weren’t comfortable that Zacks’s version of the film would appeal to the critics and the unsatisfied but louder minority of the audience after Batman vs Superman's mostly negative reviews. Whedon got to work, faster than Salt Bae’s carving knives; cutting scenes, and making extensive reshoots to change the ‘darker tone’ to a more ‘lighthearted’ interpretation. And thus, we ended up with the abomination that was never meant to be; a deformity, born to destroy the DCEU…its ‘Doomsday’, if you’d like.

Bigger, Longer, Uncut.

The Snydercut is a big box of goodness

With a precise runtime of 2 hours (Credits included) Justice League (2017) was largely set up to fail. How could it possibly deliver a worthy villain, introduce The Flash, Cyborg and Aquaman, while being a cohesive sequel to Batman v Superman in just under 2 hours? Joss Whedon whittled or completely removed many scenes to suit his altered plot and desired tone for the movie, leading to lesser developed character arcs, average action scenes, plot holes, and in general, a less refined film. By adding the unused 2 hours of the original shoot, the Snydercut restores many of these scenes to their full glory; restored Scenes like the Amazons vs Steppenwolf battle, the Flashback battle, the Striker’s Island rescue scene, and Superman’s resurrection scene better elevate the scale, density and depth of the whole movie. Other than the changes in plot and length, Zack Snyder’s Justice League also makes other changes which differentiate it from the theatrical cut. The movie had an R-rating; for violence and some F-bombs, was presented in a 4:3 ratio format, and Junkie XL returned to score the movie.

The Snydercut

The Flash is much more integral to the story

Like the plot, every character in the Snydercut is much better realized, rounded and redeemed. The Flash is a more relatable and capable character than in the theatrical cut. While still the ‘funnyman’ of the group, his humour is understated but effective. The heart of the character is greatly improved and is overflowing in the scenes with his father and at the climatic finale. The unconfident and goofy version portrayed in the theatrical cut is at its barest minimum. The Barry and Iris scene which was missing from the theatrical movie is restored and it begs the question as to why such a good scene was left out in the first place. I thought it was just beautiful, and the accompanying rendition of ‘The Song to a Siren’ by Rose Betts just sells it. It also served to set up his future romantic interest and the Flash solo movie which I am actually now interested in.

Many of the questions I had about Aquaman in the theatrical cut are answered and the elements for his would-be solo film are better laid out here. While he doesn’t shine as much as Flash and Cyborg, we get some insight into the mind of Arthur Curry, and he’s more than a brooding, reluctant hero. He’s dealing with abandonment and alienation issues, but he’s got a big heart and an upstanding moral compass. His fellow Atlanteans - Mera and Vulko, the latter who was completely cut from the theatrical edition also shine in limited time. And it really makes me wonder what the Aquaman movie would have been, had James Wan continued where Zack left off; Atlanteans would have had less brighter armour (I really liked Zack’s aesthetics), had British accents and Mera’s backstory would have been quite different.

When Zack Snyder said Cyborg was the heart of the movie, he wasn’t playing around. Many superheroes are born from misfortune, but the Cyborg’s origin story is perhaps one of the sadder ones you’ll come across, and its iteration in the Snydercut is quite heart wrenching. Victor Stone’s relationship with his father is a complicated one and it makes for some very relatable viewing. Sadly, the moments that make the character, were absolutely butchered from the theatrical cut leaving that version’s Cyborg completely forgettable - probably one of the many issues Ray Fisher would have had with Joss Whedon when the Director came on the project.

Wonder Woman kept it 100

We finally got to see Ben Affleck’s Batman complete his redemption arc and then some. The joke quipping Bat is non-existent in Zack’s film and he’s tonally consistent with the brooding brute in Batman vs Superman. His guilt over Superman’s death and determination to bring the League together drives the character to rediscover himself and find some new hope in humanity. When cautioned by Alfred on the route he’s taking, Bruce even mentions that “for once he’s not operating on logic”. With the restoration of more of Jeremy Irons’ cut scenes, we get to see a lot more Alfred and his charming banter with Bruce and Diana.

Much like in the theatrical cut, Wonder Woman mostly stays solid but is much improved. Whedon’s awkward attempt to set up some sort of romantic/sexual tension between Bruce and Diana gives way to a respectful partnership and stronger team bonding. The tasteless Striker Island scene with the Flash is gone, giving way to longer fight scenes and the sub-plot of her personal vendetta with Steppenwolf.

Superman’s appearance is limited compared to the rest of the League, as he’s only resurrected as the film inches towards its finale. However, the exigency of his revival feel more urgent and critical due to a better realized villain. His fight with the rest of the League is extended, further displaying the Kryptonian’s powers. Kal-El also finally dons the Black suit like in the comics; however the exposition behind the suit is not delved into for the understanding  of casual viewers. Something I felt was a missed opportunity. The Superman Ex-Machina that was horribly done in the theatrical cut is also much better here.

Steppenwolf found his redemption in the Snydercut

However, the most redeemed character in the whole movie is Ciaran Hinds’ Steppenwolf. In him, Zack Snyder constructed a great and worthwhile villain. It’s absolutely bonkers how this version was chopped off for whatever that was in the theatrical cut. This Steppenwolf is a cold, ruthless and effective Sombitch. The R-rating also gives him plenty of room to shine as he chops of Amazonian and Atlantean limbs like your local butcher. We also get an idea of his great betrayal and his unshakable quest for redemption in the eyes of his nephew and master, Darkseid. Beneath all that exquisite armour, Steppenwolf is a tortured soul who longs to return home after paying his penance. He is compelling, relatable and menacing; features, that the theatrical cut’s version could never hold a candle to, not since Michael Shannon’s General Zod has the DCEU seen such a great villain.

Darkseid makes his first ever live-action appearance as the big bad of the DCEU. Played by Ray Porter, the Lord of Apokolips is a force to be reckoned with. Finally getting some screen time and shown as the true antagonist of Earth’s invasion during the flashback scene. He’s more central to the plot; as Steppenwolf’s point of redemption, and for his search of the Anti-life equation. We get a teaser at the power he wields during Cyborg’s premonition, and the Knightmare scenes are a foreboding of what will come to pass, when he acquires the Anti-life equation. A couple of other key characters who were completely cut from the theatrical cut such as Desaad, Harry Lennix’s Martian Manhunter and Ryan Choi (The Atom) served as great sub-plot bases for the world Zack Snyder was building.

Finally, Jared Leto’s Joker was a late inclusion and the only new scene filmed for the Snydercut despite Warner Brothers’ wishes. Zack Snyder thought it would be a shame for Ben Affleck’s Batman and Leto’s Joker to never have ‘squared up’ in this universe and decided to make that a reality. The scene in question felt ripped from the pages of the comic books. This Joker, in the very short time we spend with him is very reminiscent of the great Joker performances we've come to know, as Leto breathed new life into his much criticized version of the character.

Zack Snyder’s Legacy and the DCEU

The Just-Us League

The Snydercut had laid the blueprint of the DCEU; Ben Affleck’s solo Batman movie, The Justice League sequels in which the Knightmare reality was going to be further fleshed out, The Flash and Cyborg Solo movies and even the Aquaman movie, sadly many of these projects have since been abandoned by Warner Bros. I also think relations between the Studio, Zack and some of the actors have been damaged beyond repair. I think Warner Bros only acquiesced to the Snydercut in the wake of the pandemic. They had a raw, complete, and eagerly sought movie just waiting to be embellished, which would cost less than making a new film under the economic conditions at the time. At most, they believed it was simply a Directors’s cut and not an entirely different movie. The Snydercut has shown that nothing is impossible in Showbiz, but there are a lot of other factors at play this time around, and no large organization wants to be seen as having made the wrong calls because it panicked.

However, It’s quite mind boggling that the Execs took one look at Snyder’s cut and decided to can it in favour of Joss Whedon’s abomination, but fear has made men do worse things. Like many others I relish what the future of the DCEU would have turned out if this was the movie we got in 2017, and how films like, Aquaman, Shazam, Birds of Prey and other now cancelled projects might have turned out if they were made in the wake of the Snydercut. Like the distinguished competition, DC film needs their own autonomy, away from the stifling control of Warner Bros. I’m afraid that until that becomes a reality, the future of DC films will consistently be a series of hits and misses.

Final Thoughts

Thinking about Anti-life

The 4-hour behemoth proved that while preferable, you don't necessarily need 4 or more origin stories, before you make an ensemble movie. The case can always be reversed, albeit you'd need massive runtime and some very intricate story telling to bring it all together. It also easily emphasizes its superiority over the theatrical cut, and while there’s much more time for exposition, it’s evident that the best parts of the 2017 film were those shot by Zack Snyder, and although the novelty of some these scenes were somewhat lost, they still managed to evoke some emotions.

The third act is easily the most excitable part of the film as it contains many never before seen moments, which totally elevate the film. The plot was great, the characters were dimensional and the visuals were breathtaking. And I think it speaks volumes, that I still find the whole movie in its entirety highly re-watchable. I’ve seen it 3 times already and I might even watch it a couple more times before March is done. I did have a few things to complain about but they’re marginal and mostly have to do with aesthetics or the lore of the source material.

Zack Snyder’s Superhero saga is likely to have come to its end, and while I’m saddened by the possibility that the Snyderverse may not be restored. I’m glad we got to see this beautiful work of art, and that at the least his canon has been reinstated.

Reject Rating: 8/10

#restorethesnyderverse

Images Courtesy of Warner bros.