This is a masterpiece that will stand the test of time. In 20 years, no one will be watching Shang-chi or whatever disposable garbage Marvel has. This will be the film still discovered and appreciated by film aficionados. Snyder wins in the end. Marvel loses.
Good Morning Sir
The future will take root in the present one day
sirs i am agreeing the snyder is very much kino now excuse me i have work to do
desi beutiful b***h pussy
Sir morning good.
Hey it's one of the butthurt people from the many Snyder threads up now making their own separate plea to appear confident and dominant!
>This is a masterpiece
yes.
t. not even indian
Not sure about masterpiece, but it was a vast improvement on the slop they dropped in theatres with the changes pushed on Joss the five headed moron by Walter the roller coaster tycoon
And the funny thing is instead of releasing it as two films and thus doubling the ROI, instead WB spent *more* money to reshoot most of it and consolidate it into a single movie that made less than either of the Snyder films would have. Fricking criminal mismanagement
Still baffles me how panic motivated so many terrible and short sighted decisions at the top
It wasn’t 2 separate films though, it was the same story arc just expanded. Also, there’s really no way of knowing how much hbo values a max subscription.
Justice League (2017) was originally going to be a 3 part story, Snyder already shot footage for Justice League Part 2 while shooting the first and used it for the Snyder Cut
Yea, stuff like Flash’s backstory and apokolips, the knightmare scenes.. not nearly enough for a full second movie
>spent *more* money to reshoot most of it
And make overall better movie.
Watch Whedon version. It's basically exactly the same movie. Even the dumbass jokes mostly turned out to be Snyder's vision, the villains in Snydercut are laughable clowns, the big bad gets btfo in the half of it and then pretends he doesn't know where Earth is, even though it is the hiding place of everything he ever worked for.
It's 6/10 at most. Snyder's a no-brainer. Although that owl cartoon wasn't bad (visually for the most part).
You want to frick owls?
lol it's literally forgotten even by the snyder fans who much prefer to be autistic about Man of Steel and BvS
The opening with the evil white men taking non-white ~~*british*~~ hostages and a israeli skeletal warrior woman coming to stop them was peak shit. Irredeemably so.
/misc/ has rotted your brain to the point where you get filtered by Snyder.
Snyder is turbo libtard troony lover.
watch Bicycle Thieves
The only time I see it get brought up is when people talk about the fact that it exists.
Nobody talks about it's scenes, themes, or characters in either a good or bad way - especially compared to MoS or BvS.
>masterpiece
If I have never seen either cut of Justice League should I watch both or just the Snyder Cut?
Only the Whedon Cut matters.
No one should ever watch that movie regardless if they hate Snyder or not. It's an insult to filmmaking.
If you are absolutely set on watching one, watch Snyder’s cut. It’s fricking long, but the movie is divided into acts if you want to treat it as a limited series
can someone explain me how the frick Snyder got a cult following??? Some people are so hard for him they praise shit films like Watchmen, Sucker Punch and that fricking Owls movie. If Snyder shits the most average movie tomorrow they will praise it
Say what you will about Snyder but he’s one of the only mainstream directors working today with a distinct style and vision
It's been 10 years since MoS, and I remember seeing posts just like this about it.
Joss Whedon’s cut of Justice League opens with a hideous and corny video interview with Superman, foregrounding him as a central character. Later, Whedon suggests that Superman renders the rest of the team redundant. Superman can fly as fast as the Flash (Ezra Miller) runs. When the Flash saves a single family, Superman saves an entire building as a background gag. When Cyborg (Ray Fisher) struggles to separate the Mother Boxes, Superman arrives to handily rip them apart.
Whedon’s cut basks in the classic iconography of Superman. Zack Snyder had originally planned for Superman to appear in the black costume that the character wore after his death in the comics, but Whedon opted for the traditional red and blue look. Similarly, Danny Elfman’s soundtrack makes sure to quote from John Williams’ classic score to Richard Donner’s Superman, which is perhaps still the defining live-action adaptation of the character four decades later. Elfman justified this decision as an appeal to nostalgia.
Some traditionalist fans complained that the Superman introduced in Man of Steel and developed in Batman v Superman was “not really Superman” or even “a deliberate trashing of the character of Superman.” In many ways, Whedon’s alterations to the theatrical cut of Justice League feel like a concession to these fans. Much like how Star Wars: The Rise of Skywalker approached its older characters, Whedon tried to assure those fans that their take on Superman was still the most important.
Zack Snyder’s Justice League understands that Superman is a symbol and an idea, and that he works best in that context. After all, while there’s some debate about whether he was technically the first superhero, Superman codified the superhero genre. All modern superheroes can trace their lineage back to him. As the graffiti on the memorial at the end Batman v Superman reminds audiences, “If you seek his monument, look around you.”
Even though he dies at the end of Batman v Superman, Superman still wins an important moral victory: He redeems Bruce Wayne’s faith in humanity. It’s revealing that Superman is a clear inspiration and influence on the team that Bruce assembles in Zack Snyder’s Justice League. “He was my hero,” the Flash concedes as he exhumes Superman’s body. Bruce repeatedly talks to Alfred (Jeremy Irons) about his newfound belief in something beyond the material world, inspired by Superman.
Each of the new members of the team reflects some facet of Superman back at him. The Flash has tremendous power and moves through the human world but seems unsure of how to relate to other people. “I need friends,” he confesses to Bruce. Barry Allen is awkward and uncomfortable interacting with other human beings. During his introductory action set piece, Snyder demonstrates how fragile and strange the material world must appear to Barry Allen, as the hero intervenes to prevent a horrific car accident.
It’s a scene that mirrors an early use of Superman’s powers in Man of Steel to save a bus. Much like Man of Steel continually demonstrates how alien Earth must seem to a being with the powers of Superman, Justice League suggests something similar in relation to the Flash’s ability to slow down and distort time. And much like Man of Steel ends with Clark getting a job at the Daily Planet, Justice League ends with Flash getting a job at Central City crime Lab. He is now part of the world.
> Each of the new members of the team reflects some facet of Superman back at him. The Flash has tremendous power and moves through the human world but seems unsure of how to relate to other people. “I need friends,” he confesses to Bruce. Barry Allen is awkward and uncomfortable interacting with other human beings. During his introductory action set piece, Snyder demonstrates how fragile and strange the material world must appear to Barry Allen, as the hero intervenes to prevent a horrific car accident.
This fails because (1) Superman has to friends. He has Lois, his gf, and his mom. (2) Barry is extremely annoying, not by virtue of his powers but his characterization. I agree with a lot of your assessment of what Snyder was going for, but I feel a lot of characters became assassinated along the way: Batman, Lex, Flash, Jimmy, Pa Kent.
Was the anti-life equation explained in the film? I don’t remember it being explained, and YouTube isn’t bringing up a scene explaining what it is. If it’s not, then it’s a pretty big misstep.
>Was the anti-life equation explained in the film? I don’t remember it being explained, and YouTube isn’t bringing up a scene explaining what it is. If it’s not, then it’s a pretty big misstep.
Just that it will give Darkseid power to control everything.
Ya that’s what I remember. Would have liked a scene that explained the method of how it works as the irrefutable mathematical proof free will is a lie, life is suffering, and that all is actually Darkseid
I honestly think Zack Snyder was going somewhere interesting with it since he seems to be a big Grant Morrison fanboy and had been building the theme of free will vs deterministic control since Man of Steel.
Ya it’s a shame. I was harsh on MoS and BvS but I actually kinda enjoyed Snyder’s cut. I have some hope for Gunn cause I liked his SS and Peacemaker but I’m not holding my breath.
Zack Snyder didnt finish the movie because of his daughter dying right? But wasnt the movie already in post production?? So like they couldnt just delay the date??? I mean ... for respect of the director who is building their universe. I dont like Snyder and his movies are shit for me but what a hack move to bring Whedon
The parallels are more pronounced with Aquaman (Jason Momoa). Much like Superman is a child of two worlds, caught between Krypton and Earth, Aquaman is trapped between Atlantis and the surface world. And much like Man of Steel suggested that General Zod (Michael Shannon) sought to turn Krypton into a fascist dictatorship, there are similar suggestions in Justice League that King Orm (Patrick Wilson) is attempting something similar in Atlantis.
Aquaman’s arc in Justice League is about coming to understand the obligations that he has, the responsibility that comes with great power. When Bruce initially tries to recruit Aquaman to the team, Aquaman refuses. “I wanna be left alone,” he insists. “I don’t owe anyone anything.” It’s similar to Superman’s arc in Man of Steel, having to “take a leap of faith” and decide that the human world is worth fighting for. Aquaman eventually makes that same leap.
However, the parallels are most strongly pronounced with Cyborg, the character who most benefits from the expanded runtime and shift in focus. Cyborg is also the character who is most explicitly positioned as a spiritual successor to Superman. He is the “next generation” of superhero. As Richard Newby pointed out, it is Cyborg who gets the big traditional superhero introductory sequence in Justice League, learning to fly like Superman in Man of Steel. Both Cyborg and Superman are resurrected by Mother Boxes.
If Superman’s relationship with his fathers Jor-El (Russell Crowe) and Jonathan Kent (Kevin Costner) provided the central arc of Man of Steel, Justice League is rooted in the relationship between Cyborg and his father Silas Stone (Joe Morton). If Man of Steel suggested that Superman was a child of two worlds, then Silas is explicitly positioned as “a father twice over.” Even Silas’ final scene in Justice League is shot to evoke that of Jonathan Kent in Man of Steel, calm in the face of death.
Crucially, Cyborg is presented as the next logical evolution of Superman. In Man of Steel, Superman served as a bridge between the old world and the new world, with Krypton presented as a corrupted version of Europe succumbing to fascism casting Superman as a refugee to the New World. In Justice League, Cyborg exists as a bridge from the material world into a new digital frontier. Silas’ monologue suggests that his son is just as much of a game changer, if not more so, than the Last Son of Krypton.
Indeed, it’s telling that Cyborg gets the DCEU’s signature climactic scene in Justice League. In both Man of Steel and Wonder Woman, the protagonists are confronted by an enemy that offers to remake this “fallen” world in the image of a nostalgic paradise. In Man of Steel, Zod tempts Superman with the resurrection of Krypton. In Wonder Woman, Ares (David Thewlis) tries to tempt Diana (Gal Gadot) with plans to restore the world to the paradise that it was before mankind sullied it.
It’s a classic mythic moment — it’s Satan tempting Christ in the desert. In Justice League, Cyborg is tempted like Superman was in Man of Steel. As he attempts to interface with the Mother Box, he is offered the promise of a humbler sort of nostalgia, a restoration of his life before the accident that transformed him into a fusion of man and machine. Naturally, Cyborg rejects this invitation to retreat into memory and fantasy. In doing so, he embraces the future.
Zack Snyder’s Justice League suggests that this is the true power of Superman, acting as an inspiration to and springboard for a new generation of heroes. Fans have noticed Snyder’s cut features an appreciably more diverse cast than the theatrical cut, literalizing Superman’s status as a metaphorical minority character. Even Barry Allen’s description of himself as “a very attractive israeli boy” evokes the popular reading of Superman as a uniquely israeli character.
Joss Whedon’s theatrical cut of Justice League offers its audience reheated leftovers of an iconic portrayal of the Man of Steel, a hollow invocation of a beloved take. It attempted to reassure viewers that Superman was as strong or as fast as any of the heroes that followed him. However, as Silas narrates in the film’s final act, “The world is not fixed in the past, but the future.” Zack Snyder’s Justice League understands that Superman’s real strength is as an idea and an inspiration — not what was, but what could yet be.