Zack Snyder’s Justice League

250 Views

Determined to ensure Superman’s ultimate sacrifice was not in vain, Bruce Wayne aligns forces with Diana Prince with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions.

Credits: TheMovieDb.
Zack Snyder’s Justice League
Overview:
Determined to ensure Superman’s ultimate sacrifice was not in vain, Bruce Wayne aligns forces with Diana Prince with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions.
Cast:

Batman / Bruce Wayne: Ben Affleck
Superman / Clark Kent: Henry Cavill
Wonder Woman / Diana Prince: Gal Gadot
Cyborg / Victor Stone: Ray Fisher
Aquaman / Arthur Curry: Jason Momoa
The Flash / Barry Allen: Ezra Miller
Steppenwolf (voice): Ciarán Hinds
Lois Lane: Amy Adams
Vulko: Willem Dafoe
Alfred: Jeremy Irons
Lex Luthor: Jesse Eisenberg
Martha Kent: Diane Lane
Queen Hippolyta: Connie Nielsen
Commissioner Gordon: J.K. Simmons
Ryan Choi: Ryan Zheng Kai
Mera: Amber Heard
Silas Stone: Joe Morton
Menalippe: Lisa Loven Kongsli
Ares: David Thewlis
Philippus: Ann Ogbomo
Young Icelandic Woman: Ágústa Eva Erlendsdóttir
Young Icelandic Woman: Björt Sigfinnsdóttir
Singing Icelandic Woman: Salome R. Gunnarsdottir
Old Icelandic Woman: Kristbjörg Kjeld
Mayor: Ingvar E. Sigurðsson
Icelandic Child (Girl): Védís Vífilsdóttir
Icelandic Child (Girl): Snæfríður Rán Aðalsteins
Jerry: Marc McClure
Black Clad Alpha: Michael McElhatton
Black Clad Beta: John Dagleish
School Chaperone: Charlotte Comer
School Girl: Lara Decaro
School Girl’s Friend: Serene Angus
School Girl’s Friend: Anna Burgess
School Girl’s Friend: Mia Burgess
School Girl’s Friend: Alison Chang
School Girl’s Friend: Constance Bole
School Girl’s Friend: Shahla Ayamah
Old Bailey Judge: Chris Courtenay
Old Bailey Clerk: Heather Imbeah
School Teacher: Carla Turner
Old Bailey Lawyer: Grace Cookey-Gam
Old Bailey Hostage: Matthew Bates
Task Force Sniper: Gary Reimer
Task Force Lead: Robbie Gee
Task Force Deputy: Jim Sturgeon
Venelia: Doutzen Kroes
Epone: Eleanor Matsuura
Euboea: Samantha Win
Penthiselea: Brooke Ence
Howard the Janitor: Anthony Wise
Louvre Conservationist: Jérôme Pradon
French Archaeologist: Richard Clifford
News Reporter at Isle of Crete: Rebecca C. Perfect
CID Chief Detective: Vincent Riotta
CID Officer: Edward Mitchell
Containment Centre Scientist: Mark Arnold
Welsh Tavern Barkeep: Martin Troakes
DeSaad (voice): Peter Guinness
Zeus: Sergi Constance
Artemis: Aurore Lauzeral
Ancient Atlantean King: Julian Lewis Jones
Darkseid (voice): Ray Porter
Ancient King of Men: Francis Magee
Antiope’s Crew: Hari James
Iris West: Kiersey Clemons
Dog Day Care Owner: Lucy Briers
Produce Truck Driver: David Mara
Tortured Atlantean Soldier: Wil Coban
College Dean: Stewart Alexander
Elinore Stone: Karen Bryson
Emergency Room Doctor: Christy Meyer
Waitress: C. Amanda Maud
Homeless Man: Granville Saxton
Central City Prison Guard: Gianpiero Cognoli
Detective Crispus Allen: Kobna Holdbrook-Smith
Sketch Witness: Kevin Mathurin
Gotham Cop: Joyce Veheary
Atlantean Military Messenger: Taylor James
Atlantean General: Hadrian Howard
Atlantean General #2: Victor Gardener
Atlantean General #3: Bruce Chong
Star Labs Scientist: Orion Lee
Star Labs Scientist: Oliver Gatz
Star Labs Scientist: Rachel Blenkiron
Star Labs Cleaning Staff: Lynne Anne Rodgers
Star Labs Cleaning Staff: Oliver Powell
Air Force Security: Kelly Burke
Air Force Security: Keith Simpson
Moonsuit Soldier: Omri Rose
General Calvin Swanwick / Martian Manhunter: Harry Lennix
MP Guard: Will Austin
Military Police: William Atkinson
Military Police: Sam Benjamin
Bio Hazard Suit Soldier: Shalini Peiris
Ship Voice (voice): Carla Gugino
Jor-El (voice): Russell Crowe
Pickup Truck Driver: Adam Forman
Defense Department Official: Peter Brooke
Bald Inmate: Peter Henderson
Prison Guard: Bruce Lester-Johnson
Lex’s Guard: Katia Elizarova
Lex’s Guard: Gemma Refoufi
Lex’s Guard: Leila Reid
Lex’s Guard: Suan-Li Ong
Lex’s Guard: Tina Balthazar
Lex’s Guard: Penny Lane
The Joker: Jared Leto
Amazon Cavalry General: Stephanie Haymes-Roven
Creature Vocals (voice): Gary A. Hecker
MoBo Priest: Steve West
MoBo Priest #2: Laura Waddell
Jonathan Kent (voice) (uncredited): Kevin Costner
Cop (uncredited): Swaylee Loughnane
Antiope (uncredited): Robin Wright
Henry Allen (uncredited): Billy Crudup
Man in Coffee Shop (uncredited): Zack Snyder
Armies of Men Mongolian Warlord (uncredited): Clem So
Viking (uncredited): Greg Draven
Slade Wilson / Deathstroke (uncredited): Joe Manganiello
Ares Body Double (uncredited): Nick McKinless
Policeman London (Uncredited): Craig Douglas
Amazonian Warrior (uncredited): Tineke Ann Robson

Crew:

Characters: Gardner Fox
Unit Production Manager: Marianne Jenkins
Sound Re-Recording Mixer: Michael Keller
Second Assistant Director: Ben Howard
Additional Editor: Carlos Castillon
Visual Effects Producer: Josh R. Jaggars
Associate Producer: Andrea Wertheim
Stunt Coordinator: Damon Caro
Co-Producer: Gregor Wilson
Sound Supervisor: Chuck Michael
Stunts: Albert Valladares
Stunts: Elliot Hawkes
Stunts: Ryan Godfrey
Stunts: Jan Holíček
Stunts: Stewart James
Stunts: Ian Kay
Sound Supervisor: Scott A. Hecker
Executive Producer: Jim Rowe
In Memory Of: Autumn Snyder
Sound Re-Recording Mixer: Andy Koyama
Stunts: Mark Archer
Stunts: Aldonio Danny Frietas
Stunts: Ekaterina Abramova
Stunts: Guiomar Alonso
Stunts: David Anders
Stunts: Ashley Beck
Stunts: Ben Wright
Stunts: Martin Wilde
Stunts: Daniel Rawlins
Stunts: Adam Bowman
Fight Choreographer: Freddy Bouciegues
Stunts: Richard Cetrone
Stunts: Ramon Álvarez
Stunts: Adam Basil
First Assistant Director: Misha Bukowski
Stunts: Tolga Kenan
Stunts: Marvin Campbell
Stunts: Georgina Armstrong
Stunts: Russell Balogh
Stunts: Thomas Billings
Fight Choreographer: Matthew Rugetti
Additional Editor: Dody Dorn
Stunt Coordinator: Eunice Huthart
Stunts: David Fisher
Stunts: Talila Craig
Stunts: Nina Armstrong
Stunts: Joanna Bennett
Stunts: Bonnie Parker
Stunts: Tilly Powell
Stunts: Juliet Reeve
Stunts: Andy Wareham
Stunts: Maxine Whittaker
Stunts: Justin A. Williams
Stunts: Lewis Young
Associate Producer: Madison Weireter
Stunts: Grace Franzl
Stunts: Erol Ismail
Stunts: Danny Euston
Stunts: Sarah Franzl
Stunts: Maria Hippolyte
Stunts: Jonny James
Stunts: Matt Da Silva
Stunts: Sonny Louis
Stunts: Christoph Cordell
Stunts: Nicholas Daines
Stunts: Glenn Ennis
Stunts: Adrian McGaw
Stunts: Bradley Farmer
Stunts: James Harris
Stunts: David Garrick
Stunts: Oliver Gough
Stunts: Robbie Keane
Stunts: Nick McKinless
Stunts: Charlie Pawlett
Stunts: Martin Pemberton
Stunts: Pete Ford
Stunts: Jo Mersh
Stunts: Karen Smithson
Stunts: Jonny Stockwell
Production Supervisor: Matthew Clarke
Supervising Art Director: Helen Jarvis
Stunts: Nellie Burroughes
Stunts: Yusuf Chaudhri
Stunts: Paul Darnell
Stunts: Heidi Dickson
Stunts: Evangelos Grecos
Stunts: Dee Harrop
Stunts: Kim McGarrity
Stunts: Mens-Sana Tamakloe
Stunts: Rob Cooper
Stunts: Maurice Lee
Stunts: Will Mackay
Stunts: Kelly Dent
Stunts: Jamie Goulding
Stunts: Mike Justice
Stunts: Gary Kane
Stunts: Troy Kenchington
Stunts: George Kirby
Stunts: Laurent Plancel
Stunts: Kierron Quest
Stunts: Shane Roberts
Stunts: Tom Rodgers
Stunts: Venice Smith
Stunts: Anna Stephenson
Associate Producer: Madison Ainley
Stunts: Jessica Hooker
Stunts: Theo Morton
Stunts: Michaela Salamounova
Stunts: Fabio Santos
Stunts: Hasit Savani
Stunts: Leo Stransky
Stunts: Annabel Wood
Stunts: Neil Chapelhow
Stunts: Michael J. Craven
Stunts: Rachael Evelyn
Stunts: Dan Hirst
Stunts: Robert Hladik
Stunts: Jack Jagodka
Stunts: Ingrid Kleinig
Stunts: Christina Low
Stunts: Ian Pead
Stunts: Andrew Burford
Stunts: Dacio Caballero
Stunts: Nick Chopping
Stunts: Joe Kennard
Stunts: Alan Ormrod
Stunts: Belle Williams
Stunts: Freddie Mason
Stunts: Belinda McGinley
Stunts: William Ramsay
Stunts: Moe Sasegbon
Stunts: Olivia Slee
Stunts: Karen Teoh
Orchestrator: Jonathan Beard
Stunts: Lauren Okadigbo
Stunts: Matt Sherren
Stunts: Anthony Skrimshire
Stunts: Jolie Stanford
Stunts: James O’Daly
Stunts: Cboy Ramsay
Stunts: Michaela Salasova
Stunts: Sam Stefan
Visual Effects Producer: Tricia Mulgrew
Thanks: John Broome
Art Direction: Paul Laugier
Orchestrator: Edward Trybek
Thanks: Howard Purcell
Stunts: Phoebe Robinson-Galvin
Stunts: Reg Wayment
Stunts: Richard Wheeldon
Supervising Art Director: Christian Huband
Stunts: Mark Southworth
Art Direction: Matthew Gray
Thanks: Steve Englehart
Aerial Coordinator: David Paris
Thanks: Joe Certa
Thanks: Paul Norris
Thanks: Jon Bogdanove
Thanks: Geoff Johns
Property Master: Ben Wilkinson
Original Music Composer: Tom Holkenborg
Thanks: John Byrne
Scoring Mixer: Alan Meyerson
Pilot: Marc Wolff
Picture Car Coordinator: Alex King
Second Unit Director of Photography: Jean-Philippe Gossart
Stunts: Rubie Planson
Stunts: Christiaan Bettridge
Characters: Jack Kirby
Thanks: Bob Haney
Thanks: Carmine Infantino
Thanks: Jack Miller
Thanks: George Pérez
Thanks: Nicola Scott
Still Photographer: Clay Enos
Aerial Director of Photography: David B. Nowell
Thanks: Harry Lampert
Thanks: Greg Rucka
Thanks: Howard Porter
Thanks: Louise Simonson
Thanks: Grant Morrison
Thanks: Gail Simone
Thanks: Robert Kanigher
Thanks: Jim Lee
Thanks: Shawn Martinbrough
Thanks: Joe Samachson
Thanks: James Robinson
Thanks: Joe Staton
Thanks: Frank Miller
Thanks: Ethan Van Sciver
Thanks: Mort Weisinger
Thanks: Curt Swan
Thanks: Len Wein
Thanks: Marv Wolfman
Props: Buddie Wilkinson
Makeup & Hair: Gabor Kerekes
Concept Artist: Christian Scheurer
Animation: Louis Morisset
CG Supervisor: David Denley
Lighting Programmer: Adam Baker
Tattoo Designer: Lee Gren
Best Boy Grip: Daniel Abbott
Animation: Wolfgang Haas
3D Modeller: Khizer Diwan
Lead Painter: Richard Ewan
Standby Painter: Terry Heggarty
Animation Supervisor: Clement Yip
Animation Supervisor: Simeon Duncombe
Gaffer: Dan Jones
Gaffer: Chuck Finch
Concept Artist: Robert McKinnon
CG Artist: Rémi Prouzat
Researcher: Allison Klein
Animation: Christof Reisenegger
CG Supervisor: Ioan Boieriu
CG Supervisor: Daniel Lupien
Animation Supervisor: Ben Anderson
CG Supervisor: Stephen Tong
3D Generalist: Thomas Dos Santos
Compositing Artist: Mareike Janik
Compositing Lead: Joel Delle-Vergin
Compositing Supervisor: Lucian Boicu
Compositing Supervisor: Curtis Carlson
Matte Painter: Jaeil Seo
Rotoscoping Artist: Ryan Coleman
Senior Animator: Camilo Duarte Franco
Visual Effects Coordinator: Barry Liu
Visual Effects Coordinator: Anna Mudrak
VFX Editor: Lei Zhang
Senior Generalist: Jean-Yves Teillet
Compositing Artist: Manuel Bruder
Compositing Artist: Tobias Dommer
VFX Editor: Jonathan D. Martin
VFX Editor: Mike Soppit
Visual Effects Production Assistant: Marc-Antoine Lamy
Visual Effects Production Manager: Robin Williams
Creature Technical Director: Mikhail Mamedov
VFX Lighting Artist: Keesu Park
Rotoscoping Artist: Barbra See Wai Ho
Senior Animator: Nikhil Deshmukh
Senior Modeller: Cedric Enriquez Canlas
Visual Effects Coordinator: Jack McClelland
Visual Effects Coordinator: Disha Parekh
Visual Effects Coordinator: Alexandra Robert
Visual Effects Coordinator: Matt Magnolia
Compositing Artist: Constantin von Zitzewitz
Compositing Supervisor: Rodrigo Dorsch
Compositing Supervisor: Andy Chih-Jen Chang
Creature Technical Director: Jarrod Anderson
Matte Painter: Sullivan Richard
Modeling: Ben Bigiel
Modeling: Sanyam Basran
Rotoscoping Artist: Samuel Tremblay
Compositing Lead: Shane Cook
Matchmove Supervisor: Evan Fraser
Matte Painter: Ian Vicknair
Senior Animator: Vincent Désilets
Senior Animator: Sachin Mathew
Visual Effects Coordinator: Anuja Desai
Visual Effects Coordinator: Amy Altvater
Visual Effects Production Manager: Zack Fox
Creature Technical Director: Emanuele Pescatori
Modeling: Shamus Baker
Rotoscoping Artist: Julian Payne
Senior Modeller: Matt Fitzgerald
Visual Effects Coordinator: Kristen Drewski
VFX Lighting Artist: Jon Balcome
Compositing Artist: Tim Tretter
Colorist: Christian Ganea Reitmeier
Compositing Artist: Andrea Krupp
Rotoscoping Artist: Dharmik Mehta
Senior Animator: Yves Ruprecht
Visual Effects Coordinator: Adeline Pizzato
Visual Effects Coordinator: Dimitri Anderegg
VFX Editor: Emil Rosenberger
Compositing Supervisor: Giuseppe Tagliavini
VFX Lighting Artist: Mae Caupit
Modelling Supervisor: Matthew Bullock
Senior Generalist: Yannick Lorvo
Visual Effects Coordinator: Curtis Corona
VFX Editor: Liana Jackson
VFX Lighting Artist: Sean Dsouza
Systems Administrators & Support: Justin Lee
Visual Effects Coordinator: Queenie Law
Visual Effects Coordinator: Dziewanna Picazo
CG Supervisor: Mathew Praveen
Visual Effects Coordinator: Oscar Lacson Jr.
Visual Effects Coordinator: Disha Patel
CG Supervisor: Chris Mulcaster
Compositing Artist: Andreas Vincent Weber
Compositing Lead: Vladislav Akhtyrskiy
Lead Animator: Kevin Kohri
Key Animation: Kanad Nandi
VFX Lighting Artist: Yoann Schmid
Matte Painter: Alec Geldart
Visual Effects Coordinator: Richard Romero
Compositing Artist: Adrian Liedtke
Compositing Artist: Bjoern Wortmann
Motion Capture Artist: James Van Der Reyden
Rotoscoping Artist: Daniel Thomson
Senior Animator: Shaun Freeman
Senior Animator: Kevin Labanowich
Systems Administrators & Support: Jake Efthymiou
Visual Effects Coordinator: Yeri Casanova
Visual Effects Coordinator: Aditya Menon
Visual Effects Coordinator: Simone Ceresato
Visual Effects Supervisor: Julius Lechner
VFX Artist: Jason Evanko
VFX Artist: Ben Sumner
Visual Effects Coordinator: Marion Jardin
Visual Effects Supervisor: Thomas Proctor
Visual Effects Supervisor: Kevin Andrew Smith
Visual Effects Technical Director: Bianca Cirdei
VFX Artist: Doug Spilatro
Visual Effects Technical Director: Valdemaras Dzengo
VFX Artist: Imran Ahmed Raichuri
Visual Effects Supervisor: Sebastien Francoeur
VFX Artist: Arrev Chantikian
Visual Effects Supervisor: Anders Langlands
Visual Effects Technical Director: Rodrigue El Hajj
Visual Effects Technical Director: Jiayin Wang
VFX Artist: Adrian Thompson
VFX Artist: Anup Jachak
Visual Effects Coordinator: Estívaliz Zaragoza
Visual Effects Supervisor: Alexander Seaman
VFX Artist: Anthony Arnoux
VFX Artist: Uttham Bhalaykar
VFX Artist: Joaquin Ludewig
VFX Artist: Michael Zhou
Visual Effects Supervisor: Bryan Hirota
VFX Artist: Tom Norman
VFX Artist: Jason Henrey
VFX Artist: Atsuo Fujiwara
VFX Artist: Ivan LI
VFX Artist: Florian Werzinski
Visual Effects Supervisor: Mike Stillwell
VFX Artist: Terran Camaclang
VFX Artist: Rogerio Alves
VFX Artist: Zygimantas Kucas
ADR Mixer: Andy Stallabrass
ADR Mixer: Thomas J. O’Connell
ADR Mixer: Jason Oliver
ADR Mixer: Mark DeSimone
Foley Mixer: Randy Singer
Dialogue Editor: Michael Hertlein
First Assistant Sound Editor: Brad Sokol
Foley Artist: Michael J. Broomberg
Foley Artist: Adam DeCoster
Production Sound Mixer: John Casali
Costumer: Emma Brackenbury
Production Coordinator: Mo Stemen
Sound Effects Designer: David Werntz
Costume Mistress: Sarah Brest
Production Coordinator: Andrew Gwyn Davies
Sound Mixer: Jerome McCann
Costumer: Viveene Campbell
Associate Editor: Warren Paeff
First Assistant Editor: Joey Amron
Digital Intermediate Colorist: Stefan Sonnenfeld
Costumer: Jody Felz
Script Supervisor: Gabriela Gomez
Sound Effects Designer: Ando Johnson
Supervising Dialogue Editor: Lauren Hadaway
Costumer: Helen Beasley
Costumer: Andrew Joslin
Textile Artist: John Ringhoff
Production Secretary: Michael Gillespie
Costumer: Ann Cartwright
Production Coordinator: Grace B. Woodward
Special Effects Supervisor: Mark Holt
Foley Editor: Matthew Harrison
Costumer: Daniel Cruden
Sound Effects Designer: Casey Genton
Colorist: James Slattery
First Assistant Accountant: Lindsey Ellis
Key Costumer: Sue Casey
Key Costumer: Perry Goyen
Costumer: Jessica Hassall
Production Secretary: Kirsty Squibb
Script Coordinator: Zoé Denis
Costume Design: Michael Wilkinson
Art Direction: Andrew Palmer
Executive Producer: Michael Uslan
Art Direction: Hayley Easton Street
Art Direction: Sam Leake
Graphic Designer: Anita Dhillon
Music Editor: Catherine Wilson
Graphic Designer: Kathy Heaser
Art Direction: Peter James
Art Department Coordinator: Sophie Worley
Graphic Designer: Jools Faiers
Art Direction: Keith Pain
Executive Producer: Benjamin Melniker
Art Direction: Helen Xenopoulos
Foley Artist: Gary A. Hecker
Costume Supervisor: Ken Crouch
“A” Camera Operator: John Clothier
Sound Effects Designer: Phil Barrie
Sound Effects Designer: Bob Kellough
ADR Editor: Michelle Pazer
Music Editor: Michael K. Bauer
Dialogue Editor: Margit Pfeiffer
First Assistant Sound Editor: Roy Seeger
Set Decoration: Dominic Capon
Casting Associate: Jeanette Benzie
Second Assistant Director: Brett Robinson
Second Assistant “A” Camera: Abigail Catto
First Assistant “A” Camera: Matt Windon
First Assistant “B” Camera: Jamie Phillips
Second Assistant “B” Camera: Dominique Cheung
Stunts: Daniel Hartley
VFX Artist: Bryan Haines
Stunt Coordinator: Marc Mailley
Rotoscoping Artist: Kay Hoddy
Military Consultant: Paul Biddiss
Aerial Coordinator: Clay Staub
Storyboard Artist: Jared Purrington
Director: Zack Snyder
Musician: Emma Cronly
Visual Effects Producer: Tamara Watts Kent
Producer: Deborah Snyder
Characters: Bob Kane
Characters: William Moulton Marston
Lighting Director: Jong Jin Choi
Characters: Jerry Siegel
Producer: Charles Roven
Director of Photography: Fabian Wagner
Characters: Joe Shuster
Executive Producer: Chris Terrio
Visual Effects Supervisor: John ‘D.J.’ Des Jardin
VFX Editor: Brett Schlaman
Executive Producer: Christopher Nolan
Executive Producer: Curt Kanemoto
Executive Producer: Ben Affleck
Production Design: Patrick Tatopoulos
Editor: David Brenner
Executive Producer: Emma Thomas
Story: Will Beall
Executive Producer: Wesley Coller
Characters: Bill Finger
Script Supervisor: Kimi Webber
Casting: Kate Ringsell
Hairdresser: Wayne Nembhard
Casting: Lora Kennedy
Casting: Kristy Carlson

Catogories:
Action,Adventure,Fantasy
These add-ons are unbelievable.

Us united.
Language:
English
Production:
United States of America
Company:
Warner Bros. Pictures,The Stone Quarry,Atlas Entertainment,Access Entertainment,Dune Entertainment,DC Films
Popularity:
89.543
Date:
2021-03-18
Year:
2021

Manuel São Bento: If you enjoy reading my Spoiler-Free reviews, please follow my blog @
https://www.msbreviews.com

After years of outstanding effort from passionate fans, Warner Bros. finally decided to give Zack Snyder the opportunity to finish his movie on his own terms. 2017’s Justice League went through massive production issues – explained in my review of said film – and despite years of extremely tiresome, toxic discourse on social media, the famous Snyder Cut got a controversy-inducing budget to complete an undoubtedly unfinished cut. A crucial disclaimer: you’ll see countless reviews based on wholly different approaches. Some people will review it as a standalone, regular movie, while others will look at it as an extended/alternate cut of a film previously released. I’m part of the latter group of reviewers.

I find it a bit unfair to criticize pacing issues or an overlong runtime when the purpose of this cut is precisely to show everything Snyder had in his hand. Director/Extended/Ultimate Cut, call it what you feel it’s appropriate, but it’s a four-hour movie, so many scenes will inevitably drag or feel unnecessary and irrelevant. The narrative is fundamentally the same, which means the audience knows what’s coming from a general perspective. Still, I’m reviewing this version mostly on its own merits, but without forgetting that it’s not a regular theatrical film and that it unquestionably builds upon what was already released.

Without getting into spoilers, I do have to write this: the heavy marketing was incredibly misleading, and I don’t doubt for a second that many fans will feel disappointed regarding certain story points and particular characters. The whole “it’s a totally distinct movie” or “Joss Whedon only used 10% of Snyder’s footage” were nothing more than false publicity for a cut that honestly didn’t need it. Out of the 119 minutes of the 2017’s version, probably around 80/90 minutes are also in the Snyder Cut, which will be surprising for people who expected something entirely unique. The base of the narrative is identical, most scenes are just extended versions of the original, but there are a couple of significant new changes that ultimately make Zack Snyder’s Justice League better than its “predecessor”.

The most impactful modification that drastically changes the emotional core of the film is about Cyborg. Ray Fisher’s character goes from barely having any remotely significant screentime in 2017 to being the heart and soul of the movie. From his backstory to the development across the runtime, Cyborg is undoubtedly the superhero that gains the most with this cut, leaving as a complete, compelling character who I genuinely cared for. On the other hand, Aquaman and The Flash receive similar introductory scenes with Batman, barely getting any sort of new individual growth besides more action sequences. However, once the League is assembled, the character interactions increase, improving their team spirit and deeply elevating the “Us United” storyline.

The humor and tone remain lighter than in other Snyder films, clearly something that the filmmaker always had in mind for his version (Whedon only added a couple of more jokes since most of them are present in this cut). The intimidating runtime does negatively affect the overall pacing, but the longer build-ups and extensive dialogue scenes make the full movie much more cohesive and coherent. Compared to the original’s abrupt, awful editing work, the Snyder Cut has a tremendously better flow, giving time for information to sink in and characters to get used to each other. I rather watch an overlong film with a well-built story than the complete contrary. Some color changes and tone adjustments also improve the movie’s consistency.

Story-wise, besides the fantastic arc given to Cyborg, there are a couple of changes that heavily affect either a particular character or a secondary storyline, but when it comes to the main narrative, it’s more or less about the same. Every action sequence with pre-existent footage is visually improved and extended with scenes not seen before, but the new VFX are as hit-and-miss as Junkie XL’s score. The latter mixes up so many different types of tracks and music that it genuinely becomes a tad confusing. While some scenes get an absolutely perfect, epic soundtrack, others receive weird, out-of-place music distracting the scene itself.

There’s only one change I definitely dislike: the R rating brings horribly artificial, forced blood splashes and out-of-nowhere cursing that simply don’t belong in the film. I know Snyder loves his gritty, bloody, gory action – as do I – but either the whole movie is consistent with this type of action, or some scenes will feel like they come from a wholly separate film. A few bloody sequences work well enough, but most just feel notably forced, while the cursing feels ridiculously out-of-character at points. It’s by far the most incompatible aspect of the cut, but admittedly, one that doesn’t heavily impact my opinion.

A common issue I have with extended cuts is that these mostly add and rarely remove. Snyder Cut partially breaks that rule, removing some scenes from the 2017’s version, supposedly only Whedon’s footage (which some people wrongly believe to be almost the entire movie). While most of the decisions regarding this process are efficient, there’s a couple of them that not only don’t improve the respective storylines but actually make them less powerful than the theatrical film. For example, in Snyder Cut, the “bringing Superman back” arc lacks an important character’s take on the situation, having in mind that character’s past. It actually feels a bit out-of-character that the viewers don’t get to see what that person thinks about a potentially devastating action.

Regarding Steppenwolf, his design looks better than the terrible original, and his motivations are clearer, but unfortunately, he remains a generic CGI punching bag for our superheroes. His dynamic armor is packed with spikes, but it’s really one of those designs with visual impact only since it has no effect whatsoever in battle. I can’t get into spoilers about Darkseid or DeSaad, but I can safely write that these characters are nothing more than fan-service, just like Joker (Jared Leto). The ending is definitely the sequence that changes the most due to the addition of dozens of new/extended action scenes, and it does play out differently – though the conclusion is essentially the same – leaving the viewers with a menacing threat on the horizon.

Zack Snyder’s Justice League is arguably a more cohesive, consistent, and emotionally compelling movie than the 2017’s version. As expected, its four-hour runtime causes pacing issues and possesses dozens of unnecessary, irrelevant scenes, but criticizing these aspects in an admittedly non-theatrical cut is unfairly defeating its purpose. Despite most of the original Justice League being present in the Snyder Cut – something that might surprise a few fans – the main narrative is built and developed through a structure that flows tremendously better than the previous edition. Cyborg becoming the emotional core of the story and the increased character interactions are some of the best changes Zack Snyder and Chris Terrio did. The extended action sequences are more riveting, and pre-existent footage is definitely improved, but the new VFX are as erratic as Junkie XL’s all-over-the-place score. The R-rating is the only straight-up negative aspect that damages the film with highly forced, fake-looking blood and rare yet cringe-worthy cursing. Highly anticipated characters and/or storylines are better described as unimpactful fan-service, but overall, most of the decisions made vastly improve upon what was already built. In the end, I sincerely expect a significant majority of the fandom to get their expectations fulfilled, and I hope that the DCEU continues with Snyder involved – just as long as the studios leave filmmakers to do their job without nonsensical restrictions.

Rating: B
JPV852: Definitely an improvement over the Whedon version and as a DC fan, enjoyed plenty of the character moments (and the addition of MM) but the story did feel off even though the film is nearly four hours long, in addition the alternate timeline part at the end felt tacked on and unnecessary. The visual effects looked like something from a video game but I can forgive that since I’d imagine it’d cost an additional $100M to make it look cleaner and more realistic.
Given what Snyder had to work with and the fact in reality the studio should’ve been patient and given him and his family to mourn and re-group later, I am glad this did become a reality, shame that outside of maybe The Flash movie there won’t be a follow-up with Darkseid. **3.5/5**
sykobanana: This is DC’s best so far…easily.
Although not flawless- there are a couple of scenes that didnt need to be included – this is the version that we needed to see.
There is so much more time given to the characters in this, the plot is better thought out and structured, and Steppenwolf is no longer a joke. There is actually an urgency in his battles with the JL now. And OMG, Darkseid and Desaad look and sound boss.
The recruitment is harder, the fight between the JL and Supes and then the JL and Steppenwolf is more brutal, and Superman’s ‘recovery’ is better paced and makes more sense.
This also follows directly on from BVS and links directly into Aquaman.
And the closing cover of Hallelujah is glorious (it near comes close to Jeff Buckley’s angelic version)

It’s flaws – Timing of release – I need to watch this in a cinema. FU WB for not giving Snyder the time to finish this as he envisioned. THIS is what we should have gotten, not the tripe that was Josstice League. This movie shows that Snyder was not just trying to catch up to Marvel, he was their own version of their stories and it should have been allowed to come to the end of the cycle.
Also, I was underwhelmed by the score and would have loved Zimmer to have returned to complete this.
And there are a couple of initial set-up scenes that could have been let go or shortened and the gapping continuity error scene in the middle where the JL get introduced to Alfred after theyve already met him should have just been left out.

But we got what we asked for – the Snyder Cut in its entirety.
And I am grateful for that…thankyou.

Now, could we please create ZSJL2 so we can see the Injustice and Darkseid stories.
Peter89Spencer: I really, really REALLY wasn’t expecting this – it felt like the extended edition of Lord of the Rings, if Zack Snyder directed it!
No, this was Zack Snyder’s vision of Justice which we should’ve seen, if it wasn’t for Joss Whedon hadn’t pissed all over it. I mean, I understand why Snyder had to pull out the production, I really do, but Whedon could’ve had the decency to keep to heart on Snyder’s work. Looking back, it was a total disrespect to the visionary director. This film…wow! It was truly and 100% amazed me.

Plus, my best highlight was the voiceover of of Superman’s dads Johnathan and Jor-El reminding him of who is he – it felt poignant.

That said, a couple of things I feel I must complain about this, just small things; 1) I noticed Mera had a change of accent. Probably an original idea, but it sounded funny especially soon after 2018 Aquaman was released. 2) Victor Stone’s dad Silas sacrificed himself – not only was it upsetting but it changes everything for the future of DCEU films. I guess this means they;ll have to rewrite everything for that Cyborg movie!

At least we got the introduction of the Joker (Jared Leto reprising his role) as well as the (not so) surprising twist of the Martian Manhunter!
Not to mention we finally got to see the appearance of Darkseid – it was all like a fusion of 300’s Persian empire and LOTR’s Sauron!

In the end, this was a true masterpiece from Zack Snyder, since Watchmen and Sucker Punch, and I am so pleased – no, grateful this was made. I thank not just the director himself for returning to this project but also the many fans who petitioned this director’s cut to happen.
For once, we finally had something good out of all this chaos that was covid 19, hence why they chose the song Hallelujah for their Snyder cut trailer!

Thank you so much, Zack Snyder – you have always been my fav movie director.
Joss Whedon, you are officially dead to me!
Yassin_Raouf: 10/10 this is absolutely fantastic, just 1 word, #RestoreTheSnyderVerse
iselates: I don’t understand why people are getting so horned up over this movie. It’s got the exact same plot as the theatrical cut, but it’s longer and more drawn out with unnecessary slow-motion and scenes that any editor worth their salt would have cut out (like Aquaman’s Icelandic singers). And what we’re left with?
Darkseid gets his ass kicked and then forgets he was ever on Earth. Hardly anything spectacular.

Steppenwolf’s armor now looks like something designed by early 90s Rob Liefeld, which is not at all a compliment.

The Cyborg stuff was pretty good for the most part, although the sequence with the single mother was just as pointless as Whedon’s Russian family and there was absolutely no logical reason why his father had to sacrifice himself. But Snyder is a fan of fathers sacrificing themselves when there is absolutely no logical reason for it (see Jonathan Kent in Man of Steel).

So what else is there?

“Superman wears the black suit!”

Okay…and…? It’s just a black version of his usual suit, there’s no story reason why he wears it, and it looks like Snyder intended for him to keep on wearing it. Which is stupid and doesn’t fit that character at all. And amusingly enough, I see some of the people freaking out about this who in the 90s would have lost their shit if Tim Burton’s black-suited Superman movie ever got made.

We also have Wonder Woman splattering bad guy brains over walls and vaporizing people RIGHT IN FRONT OF LITTLE KIDS! And once Steppenwolf is clearly defeated, Superman heat visions off part of his head FOR ABSOLUTELY NO REASON OTHER THAN CRUELTY!

This is what people are all pumped up for? To see Superman and Wonder Woman go all Abu Ghraib on people?

Oh, and we get the Martian Manhunter. Who clearly knows everything that’s happening, BUT DOESN’T LIFT A GODDAMN FINGER TO HELP OUT! Martian Manhunter, it should be added, IS ABOUT AS POWERFUL AS SUPERMAN! But does he turn up at the Batcave to say, “You could probably use my help”? No, he just hangs back, impersonates Martha Kent, and then only shows up to offer his help AFTER THE THREAT HAS BEEN DEFEATED! Gee, J’onn, maybe we could have used you back when Steppenwolf WAS FLAT-OUT MURDERING PEOPLE! This movie takes one of the greatest Justice Leaguers of all, a character who has always been a model of selflessness, and turns him into a coward who sits on the sidelines.

And then of course we get the Knightmare sequence, where we get to be subjected once more to Jared Leto’s absolutely godawful Joker performance, Batman drops an F-bomb because idiot fanboys with the emotional maturity of a 12-year-old think that’s “badass,” and Snyder basically riles up his little cult so they can start harassing people about #RestoreTheSnyderverse.

This whole endeavor was nothing other than a reward for the absolute worst and most toxic elements of fandom. And now that they’ve gotten this victory? They’re going to be ten times as awful. Because now they’ve had their tactics validated.
StoneCrow1977: Admittedly, I don’t know as much about DC as I do about Marvel. However, I’m fairly well versed in them and the Justice League is my favorite DC team. When it was announced that DC would come out with a Justice League movie after the Avengers, I had hope…that is until I learned that they’d be doing a team movie first and individual movies afterward. This is the exact opposite of what Marvel did.
During the production of the first movie, Zack Snyder had the incredibly unfortunate disposition of learning that his daughter had committed suicide. Understandably, he took a break from the movie. Because Warner executives don’t understand anything, they went on with the production.

Hiring Joss Whedon to finish the production, the final product was lackluster at best. In typical Zack Snyder style, it was more flash than substance. After it came out, Zack went public and said that the movie was nowhere near his final vision. Not long after this, the hashtag #releasethesnydercut was trending on Twitter. Four years later, the director’s cut was completed and we got a monstrosity of a movie. Now the true question is “Was this movie worth the hype?”

Honestly…not really.

Now I write this from the point of view of one who’s been a comic book fan for 32 years. Also realize that there are MANY stories that I haven’t read and equally as many storylines that I’m ignorant to. However, I understand the characters. I’m a firm believer that character develops story. George Lucas said: “A Special effect without a story is a pretty boring thing.” This is a lesson that Zack Snyder has never learned. Now, Joss Whedon gave us an amazing movie with The Avengers – and that’s the only comparison that I’ll make – so it’s possible that WB wanted some of that lightning in a bottle for JL and that’s why they brought him on.

When Ray Fisher went public and said that Joss created a hostile work environment (as well as one of the producers), the way it was presented was that he didn’t get things that he wanted, so he’d complain. I’m glad to admit that I was wrong in that assumption. Ray actually opened the floodgates against Joss and it turns out that he’s not a good person – he’s a great writer and filmmaker, but that doesn’t make up for his behavior. This is relevant (and the last time I’ll mention it) because a good portion of this movie has Cyborg in it. The majority of his scenes were heavily cut from the first movie. Like 90% majority.

I appreciate Zack wanting his vision to get out – every director has the right to tell a story the way they want to – but I wish that he’d step away from the writing process. He’s a great filmmaker but not a great storyteller. He needs a writer that has synergy with him.

That being said, the special effects are very well done, although I REALLY wish the comics would have been honored better. Simple things like the way the Boom Tubes were portrayed would have been great fan service. Also, the boxes are FATHER Boxes. A Mother Box is a little bit larger than a cellphone. Father Boxes are used for evil on Apokolips and the Mother Box is used for good on New Genesis. If a feministic agenda caused that change, then I disagree with the studio’s decision and a quick 15-second explanation (like what I just did) would have solved that problem and added more to the plot (all the while giving a nod to the New Gods). Yes, I’m critical but it’s important.

My favorite of the cast is Gal Gadot. She captures the essence of Wonder Woman perfectly. I also like Ben Affleck as Batman – I’ve always supported him in the role and he does a really good job with it. In fact, he’s second only to MIchael Keaton.
Now this is where I’m probably going to get a lot of hate, so if if happens…bring it on…

EVERYONE else in the cast I hate. EVERYONE.

Ezra Miller is easily the worst Barry Allen ever. He’s supposed to be Barry, but he acts like an immature Wally. Absolutely terrible.

I HATE Henry Cavill as Superman. He’s bottom of the list for me. I think Man Of Steel sealed that opinion for me, but he’s just terrible. His suit in this was sharp, so I’ll give credit where it’s due.

Ray Fisher actually didn’t do a terrible job as Cyborg, but I’d never put Cyborg in the Justice League. If they wanted a robot-type character, they could have easily used Red Tornado.
Jason Momoa is just awful. He’s not Aquaman. I don’t care that he doesn’t have blond hair. He doesn’t fit the role. It would have been much better if he was cast as Lobo. He’s a much better fit there.

We also get a brief cameo by another Justice Leaguer that was a wasted opportunity but sets up a sequel that will probably never happen.

I understand that Zack likes big spectacular shots in his movies. I understand that he wants these heroes to be larger than life. However, his style is very arthouse – there’s absolutely nothing wrong with that. There’s quite a few superheroes that would benefit from that style of filmmaking. These aren’t those superheroes. Zack needs to understand that many times less is more.

Ultimately, this movie is an anomaly. It’s an improvement on the first movie, but it’s not better. It tried to do so much, but had the individual hero movies come out first, there would have been so much more to the story. Instead, everything is crammed into this four hour long beast that doesn’t accomplish as much as it wanted.

Because of the improvements, and only because of the improvements I can only give this a 3 out of 5.
rodricama07: Say what you want about this movie! It’s great and everything. But what do you say about this app? I think you guy should hire this one. He’s a keeper.
Rene: Ok lets clear stuff up before hand. It’s still the same movie with extra scenes. There alot of friction from which was good and bad or bad to worse. at the end its all about personal taste. Zack Snyder version was better covering the story of each character we have not seen in the series, but he also did stretch it out for so long that the movie hinges on to long. But overall a good movie just longer.
Nathan: _Zack Snyder’s Justice League_ is able to turn one of the worst superhero movies of all time into a fantastic film filled with great action, heart, and depth.
The original 2017 _Justice League_ cut was unbearable to watch, each line of dialogue felt out of place and extremely corny. I was physically cringing at almost every scene. These problems are completely wiped away in the Snyder Cut allowing for a more character focused and emotional telling of the dawn of the Justice League. The entire film is completely different, with scenes completely cut and the order adjusted to have a more organic viewing experience.

With a runtime of four hours, I was really nervous of feeling bored or the movie having a large amount of filler to pad the runtime, but that is not the case. Each scene is crafted perfectly to deliver important character depth, allowing the viewer to gain an emotional connection with each of our heroes. Cyborg, Flash, and Aquaman all have very fleshed out introductions, giving the audience a glimpse of their motivations and struggles living in a world with their powers. Cyborg has a tremendous arc with his struggling relationship with his father, which gets great pay off in the end of the film. The Flash feels grounded too with his motivation for fighting crime to help prove his father’s innocence. With this new perspective and tone, his quips feel more like that of an immature kid (much like Spider-Man) rather than infused comedy that was forced by the corporate overlords.

Batman and Wonder Woman are great in this film, with each giving arguably their best performance as their respective characters. Batman feels like a man who has truly learned from his past mistakes and wants to gather and lead his team rather than divide. Wonder Woman is a confident bad-ass Amazon who’s heartfelt and understanding presence is the glue that holds the team together. Aquaman does not have all that much of an arc in this film but has a great lead into his solo movie which is noteworthy.

Not only are the hero’s more fleshed out but so are the villains. Steppenwolf has an actual motivation that the audience can sympathize with and understand. This leads him to feel more genuine in his conquest to take over the world. Steppenwolf plays really well with the backdrop of Darkseid who is looming in the background of every scene of our villain. It really creates a relationship akin to the Emperor and Darth Vader. The introduction of the life equation adds much more stakes and an emphasis on what the conquest is actually about.

The action in this movie is great. The R rating added more room for the scenes to be more brutal and visceral with blood and gore, and even a beheading! While the majority of the film had pretty decent CGI, there were a few scenes that looked really out of place. Especially the ones with Darkseid and his lackies, which reminded me of a character straight out of a PS2 game. This largely had to do with the limited budget and time constraints the Synder Cut was given.
This film delivers on Zach Snyder’s vision of Justice League, and I am so happy it exists. Although it also brings a sense of sadness as well, because the movie sets up for so much potential for the DCEU and now that future has all but vanished.

**Score:** _88%_

**Verdict:** _Excellent_
Martha: Yes it IS better than the previous version. There are parts I was a little bored with. There are some characters that were OVER embellished and OVER acted. It was good seeing Wonder Woman move fast … However Zack musta not known that she CAN fly now thanks to WW84. I was annoyed half the time by Ezra’s portrayal of Barry Allen … But impressed with Cyborg being so much more in depth. For all the hype of DarkSeid … He fell flat for me… And Steppenwolf was hard to look at sometimes… Being too much CGI. I love seeing the battles with Amazons, Atlantians, and Men vs DarkSeid. I hated Amber Heard period. All that teasing of the Joker for a small 5 minute nightmare scene with Batman being a total jerk was a little let down but Jared Leto played it so perfectly it made me want MORE. Martian Manhunter… I was so happy to see him. So much potential for so much more that could have been done but WB is being Aholes and not letting Zack continue. I love the movie… It was worth it and I am sad we won’t get to see more. Thank for killing Justice League WB!
The Movie Mob: **So long but so incredible! DC Comics fans rejoice! As an average movie-goer, it might be a bit too long for you.**
Wow! What could have been? This movie provided a master class on stunning visuals, character development, and world-building. It’s shocking the disparity between the theatrical release and this movie. Surprisingly even after the 4 hour run time, I was left wanting more. The cast was superb at making these impervious characters with godlike power experience pain, loss, and emotion. The existence of this film is cinematic history in and of itself is a miracle. A director’s cut with zero studio interference and such a drastic difference from the studio’s original release ever seeing the light of day is astounding. And I am so glad it did. Zack Snyder’s Justice League was a superhero epic that created a theatrical masterpiece worthy of DC’s greatest heroes.
tmdb28039023: Some HBO Max subscribers were accidentally able to access, 10 days before its premiere, an hour of Zack Snyder’s Justice League (2021) before the movie was cut off. This is not a bad strategy. An hour at a time of this gargantuan abomination is more than any thinking person can bear. ZSJL reminds me of Ambrose Bierce’s famous book review; “The covers of this book are too far apart.” It doesn’t help either that half the movie seems to occur in slow motion.
Superman’s quote-unquote death has resulted in the reactivation of the “Mother Boxes” and the appearance of Darkseid’s servant Steppenwolf on Earth. Steppenwolf hails from Apokolips, a planet that exists on a different plane of existence from the regular DC Universe, in spite of which he speaks perfect English, and his name is a German word for an animal presumably found only on Earth.

Steppenwolf retrieves a Mother Box from Themyscira, following a battle of incredible proportions – not because it involves mythological beings and alien deities, but because the world of the Amazons is almost entirely computer generated, its scenery only slightly more sophisticated than an Age of Empires screenshot.

How can this movie ask us to believe in a place like Themyscira, when the film itself doesn’t seem to have much faith in its existence? This is symptomatic of ZSJL, much of which takes place in a setting completely divorced from the real world – and my complaint is not that it’s unrealistic, because ZSJL is fantasy after all; my problem is that it’s not real. I mean, it’s just not there.

Other than as childhood wish fulfillment, true-blue superheroes are very hard – sometimes even impossible, as with the immortal, omnipotent Superman – to identify with or care about; their physical and moral perfection renders them boring and predictable. ZSJL makes it even harder by placing them in front of green/blue screens most of the time, constantly surrounded by wall-to-wall CGI, and unconvincingly engaging enemies who are literally an afterthought – digitally added in post-production, and very poorly at that.

And speaking of characters that are nothing short of caricatures, there’s Flash (Ezra Miller). Barry Allen is annoying, irritating, obnoxious, insufferable, grating. He’s like a very fast Jar Jar Binks. He’s like the bastard son of Andy Dick and French Stewart. If he’s so quick, why does it take him so long to get off my screen?

All things considered, there’s nothing here we haven’t seen in Avengers. Darkseid is Thanos, the Mother Boxes are the Infinity Stones, Batman is Ironman, etc., etc. The one difference is that Zack Snyder’s Justice League is, though I would not have thought it possible, longer and more boring than any Marvel movie. The only thing that alleviates the overwhelming oppressiveness are the brief interventions of Willem Dafoe and Jeremy Irons, whose considerable talents are wasted on this debacle.
GenerationofSwine: Well, the Flash had a back story and one that made him turn out to be not the sniveling coward that he was in the first cut.
And it didn’t end with that horrible over-dramatic race between Superman and Batman to save more people.

And it had more of a plot.

So, in the end it’s jut a much better movie than the steaming pile that was released…

… but you’re not supposed to like it because Twitter, Hollywood, the left in general and the media that supports it have all come to the conclusion that fans are evil for being fan. And making a movie that the fans want makes you evil. And the goal is to make movies the fans don’t want to see, lose money on it, get praise by critics and lots of Twitter Twits, and then blame the fans for not watching a movie that you didn’t make for the fans and made widely announced that you didn’t make it.

But the fans demanded this, they wanted to see it, the demand caused the studio to release it, and when they did the fans came out to watch it and liked it.

So, despite it being far better than the original (and far too long) you are supposed to hate it because of politics… even though there are no politics in the plot.

And then there is the fact that it the first release only sucked because of heavy studio interference, and so you can’t celebrate as a studio being smart enough to go back and make it better for the franchise, you have to condemn it because the studio can’t overcome, because that would be admitting a mistake.

You have to hate it, even thought it was pretty good and fantastic compared to the first attempt.

So. I don’t know, I just think the salvaging that train wreck and proving it can be something watchable is pretty impressive.
Rob: Very long, and very tedious. How can a four-hour movie offer such little development? The heroes are basic and uninteresting and the villains are cringe-worthy. This movie should have been dark and edgy, instead, it was just child’s fluff. And don’t get me started on the 4:3 screen format. WTF!

Leave a Reply Cancel reply

You might like