Zack Snyder’s Justice League is a big ask: a ponderous and worshipful four-hour version of a failed blockbuster that nobody liked in the first place. But the moment that the Icelandic ladies started singing, I knew I was in.
Early in the fabled Snyder Cut, Ben Affleck’s tired-eyed Bruce Wayne goes in search of Jason Momoa’s vascular Aquaman in deepest Iceland. Aquaman, who’s not yet interested in joining the superteam, makes his dramatic bare-chested exit back into the sea. As he departs, a mob of fishing-village ladies immediately harmonizes an ethereal hymn to the fish-man. The lead maiden, a mournfully thirsty look in her eyes, grabs the sweater that Aquaman left behind, lifts it to her nose, and inhales deeply.
The scene is only a minute and a half long, but it seems to go on forever. While it serves no narrative function, it still communicates a crucial piece of information to anyone watching. The scene lets you know that you are in for some true mythic, operatic freak shit and that the next four hours will not even attempt to speak the zippy, quippy language of recent-vintage superhero cinema. If you’re going to hang with this maximalist vision, then your only option is to submit completely, to let these absurd images wash over you. The scene also helpfully indicates that you’ll be better off if you’re high.
On some fundamental level, Zack Snyder’s Justice League exists as an olive branch to a loud and very online contingent of fans. Zack Snyder’s first two DC superhero sagas, 2013's Man Of Steel and 2016's Batman V. Superman: Dawn Of Justice, were both brutalist and vaguely worshipful fever dreams—conscious attempts to cut against the grain of the Marvel entertainment machine. Both were hits, but they didn’t make as much as their MCU competition. They were also punishing trudges that took themselves seriously to comical degrees; the Batman V. Superman bit where the two warring heroes finally bonded over having mothers named Martha became an instant pop-cult punchline. As Snyder attempted to pay off all that build with his Justice League movie, Warner Bros. executives blanched, pushing Snyder to ram as much Marvel-style brightness into the finished product as possible.
Then, tragedy. When Snyder was nearly done with his version of Justice League, and still butting heads with Warner execs, his daughter Autumn died by suicide. Snyder, understandably disinterested in fighting the studio anymore, walked away from the project. DC had already brought in Joss Whedon, director of the first two Avengers movies, for rewrites. He essentially took over as director, too, reshooting much of the movie and reconfiguring the whole thing. The end result was a jarring tonal mess, a film at war with itself. This was the visionless vision of Justice League that nobody wanted.
The movie drew dismal reviews, pissed off its own audience, and did spectacularly mundane box-office business. DC’s cinematic universe pivoted away from internal consistency, instead zooming in on individual characters, one at a time. Before long, we had another Joker. Soon, we’ll have another Batman, too. DC had built up its movie hopes on the foundation of Zack Snyder’s vision, and then they had condemned that vision and demolished everything. Zack Snyder moved on to Netflix, where he could make his orgiastically hyper-violent zombie movies in peace.
But not everyone was done with Zack Snyder’s vision. After previous AV Club columns, in which I panned 300 and Watchmen and Man Of Steel, I learned firsthand that Snyder’s ride-or-dies rival the BTS Army as the internet’s most aggrieved, energetic, aggravating fanbase. So I can only imagine what happened in the Twitter mentions of every last Warner functionary. The broad strokes of the “release the Snyder Cut” fan campaign—the flying banners over Comic Con, the Times Square billboards, the fundraising drives—are well-known. The constant siege of online complaint has been less documented, but it must’ve really been something. Finally, in what amounted to an admission of institutional folly, DC announced that the Snyder Cut would be released.
When the campaign started, though, there was no Snyder Cut—or, at least, there was no finished Snyder Cut. Warner, needing content for its new HBO Max streaming service, dumped $70 million into the effort to finish it. Snyder himself completed the effects, commissioned a new score, and brought in the Justice League cast to film a few more crucial scenes.
The timing was good. Zack Snyder’s Justice League arrived on our TVs a full year into a seemingly endless pandemic, at a time when the world was starved for grand-scale spectacle of the imaginary variety. (We had, admittedly, just seen the Capitol riot, a real-life grand-scale spectacle that was the end result of a different kind of fan-army initiative.) In those depressing depths, when many of us grabbed ahold of anything that felt like a shared cultural experience, the Snyder Cut glimmered like a diamond.
It’s hard for me to imagine any universe in which I would’ve plunked down $15 to see the whole four-hour Snyder Cut in a movie theater, but that was never an option. The Snyder Cut exists in a whole different kind of attention economy. It was always a product of the internet. In a time when the internet was the only meaningful vector to interact with the rest of the world, the Snyder Cut became a flashpoint for excitement. The tribes of man came together online to defeat a common enemy: boredom. The Snyder Cut helped.
I have written plenty of unkind things about Zack Snyder’s works in the past. I actively hated both Man Of Steel and Batman V. Superman. But Zack Snyder’s Justice League got me. In its sheer Wagnerian excess, it’s clearly the vision of one person, and there is power in its preposterousness. I still don’t understand what the Motherboxes are, but Snyder treats them as something more than simple McGuffins, filming them as if they demand 2001-style religious awe. In Snyder’s hands, Superman’s temporary death leaves Lois Lane in a perpetual state of rainy greyscale Nick Cave mourning. The Flash, whose Marvel-style comic prattling gets old fast, is granted a beautifully stupid superhero meet-cute that does Whedon better than Whedon. (Shortly before the arrival of the Snyder Cut, Whedon was unmasked as an on-set shitbag, and his new villain status definitely helped drive the appetite for a de-Whedonized Justice League.)
Plenty of the bones of the Snyder Cut were evident in the theatrical Justice League, including the neat touch where Superman returns as a fearful and wrathful demon god. In that theatrical version, though, Snyder’s rhythms and sensibilities had been completely bowdlerized, the film forced into incoherence to fit a corporate-mandated two-hour runtime. The Snyder Cut, by contrast, has time to bathe in slow-mo painterly imagery, to fully savor the image of Batman perching on a skull-head gargoyle like he’s posing for a metal album cover.
In plenty of important ways, the Snyder Cut does not turn Justice League into a good movie. The dialogue is still rote, and many of the performances are still wooden. Gal Gadot still has to spout mythic exposition, which isn’t really a part of her limited skillset. Plenty of the CGI still looks like ass. The restoration of Cyborg’s grief-stricken backstory gives the character some much-needed gravitas, but it doesn’t do anything about the unfortunate decision to make him look like a half-assed Michael Bay Transformer. And while chief heavy Steppenwolf gets more context, too, he still comes across as a replaceable CGI bad guy.
Still, it’s possible to watch the Snyder Cut without feeling like a number on a spreadsheet, which has increasingly become a problem in the whole algorithm-dominated field of superhero cinema. To Snyder’s great credit, his whole Justice League vision owes very little to previous non-Snyder comic-book films. Instead, the Snyder Cut seems to be in conversation with previous generations of blockbusters. Joe Morton, for instance, essentially plays his own Terminator 2 character again. Some of the battle scenes feel like Lord Of The Rings tributes. And Snyder’s not above quoting himself: In the flashback to Darkseid’s past battle with Earth, Zeus looks a hell of a lot like Gerard Butler in 300.
The heroes of Zack Snyder’s Justice League are all, in one way or another, grappling with intense grief, usually over losing family members. There’s some poetry in Snyder finishing his version of Justice League while dealing with his own grief. Still, emotional resonance is not what I get from Zack Snyder’s Justice League. I prefer to bask in the sheer grandeur of Snyder’s imagery. You could get lost in the oddball majesty of this streaming opus, and that’s what makes it a truly pleasurable stoner movie. Maybe that’s one of the reasons it’s best experienced from your own couch.
In a lovely bit of showmanship, Snyder saved his greatest ideas for the very end. As the Snyder Cut rumbles to its close, he cuts to a desiccated nightmare future where Superman is a minion of Darkseid, where Aquaman and Lois Lane and Harley Quinn are all dead, where Batman grunts “I will fuckin’ kill you” at Jared Leto’s wisely-redesigned Joker. What a maneuver! With Snyder essentially written out of DC continuity, the man returns to reduce that continuity to charred ashes. It’s a teaser for a follow-up movie that will probably never be made. Snyder gets to coyly tease the end of his own Justice League cycle, once again firing up his fan army. And if DC never capitulates and hires him back, then Snyder never has to answer pesky questions like how the fuck the Joker was ever going to help stop Evil Superman in the first place. I love it.
If Snyder never makes another Justice League opus, that’s fine with me. The release of the Snyder Cut was not a replicable phenomenon. It was a one-time thing, lightning in a bottle. It seems unlikely that the Snyder Cut will inspire future superhero films, though it does point to a future where every fan-favorite cult object will get an all-too-extensive redux. (Taylor Swift’s chart-topping 10-minute version of “All Too Well” is essentially the pop-music version of Zack Snyder’s Justice League.) For a brief moment, though, Snyder’s portentous, overbearing revision brought a jolt of weirdo fun to a bleak time. For that alone, Zack Snyder is a hero.
Other notable 2021 superhero movies: For half of the year, with big theatrical releases still an impossibility, Marvel focused on its slate of TV series, all of which topped out at “pretty good.” By mid-summer, though, the machine was back in operation. Later this month, we’ll get to see the long-awaited Spider-Man: No Way Home, which seems likely to become the highest-grossing film of 2021. For now, though, that distinction goes to another MCU property, the fun but predictable martial-arts fantasy Shang-Chi And The Legend Of The Ten Rings—as good a demonstration as you could want of Marvel’s reliable charms and of its artistic ceiling.
I really liked Marvel’s first movie back. It’s no masterpiece, but the extended flashback Black Widow played as a zippy riff on James Bond archetypes, with some good dysfunctional-family comedy baked in. Given the drama surrounding its release and Scarlett Johansson’s lawsuit against Disney, Black Widow seems likely to stand as one final goodbye to the MCU’s early days.
Marvel’s big flex this year was supposed to be Eternals. A newly minted Oscar winner taking on a batshit story about cosmic immortals protecting Earth from interstellar hell-beasts should’ve been as ecstatically weird as Zack Snyder’s Justice League. Instead, Eternals played out as a tin-eared attempt at crowd-pleasing gruel. It showed all the limitations of the Marvel method and none of the magic. At some fundamental level, Eternals seems to resent its own existence. Marvel has made bad movies before, but none of those movies made me feel like I should stop watching Marvel movies the way this one did.
Thus far, my favorite Marvel film of 2021 has been the one that doesn’t involve the MCU (nearly) at all. Venom: Let There Be Carnage is a beautifully unpretentious B-movie that gives Tom Hardy multiple chances to act like an absolute freak and that ends mercifully after 90 minutes, a.k.a. 37.5% of a Snyder Cut. Let There Be Carnage is essentially a surrealist queer romantic comedy dressed up in knowingly unconvincing superhero-flick drag, and that’s why it rules.
DC ended 2020 with the release of the galactically stupid Wonder Woman 1984, and the Snyder Cut existed in contravention of studio strategy. But give DC credit for handing James Gunn a huge budget to make a gloriously violent blockbuster-sized Troma film. His Suicide Squad is bleak slapstick that pushes its gore to downright sickening levels, and it awaits its destiny as a barf-bag sleepover classic. Maybe it’s a little too easy to present a version of subversion that’s mostly just superheroes killing and dying gruesomely, but that shit still works on me.
Outside of Marvel and DC, the only major superhero film of 2021 is Thunder Force, a broadly comic Melissa McCarthy Netflix movie. It looks dumb.
75 Comments
When you say “it is all we talked about” that is true only in an Inside Baseball sort of way. The vast majority of regular viewers had moved on from the Snyder-verse years ago and had only passing interest in a longer version of an already too long movie.
Marvel has made bad movies before, but none of those movies made me feel
like I should stop watching Marvel movies the way this one did.
Geez, man! I kind of liked Eternals, and thought it gave the MCU a cosmic scope neither Doctor Strange nor Guardians of the Galaxy managed — although “cosmic scope” wasn’t at all what Guardians was aiming for. More like “Dude! We have the entire cosmos to joyride across!”, followed by some gloriously cheesy Seventies/Eighties pop songs and the Cinema 4DX Experience blowing pot smoke in our faces.
The best thing about both cuts of Justice League, and perhaps the only thing I truly enjoyed about either of them, was laughing like a little kid anytime someone said, “scent of the Motherbox.” Seriously, I’m laughing while writing this!
Like The Motherbox isn’t even really McGuffin in the comics. It’s basically a smartphone. A really advanced smartphone that can teleport you places and is sentient. But it’s just a smartphone.Also, The New Gods are really some of the least Snyder-friendly characters you can find. There’s a faction of them that are literally just Space Hippies.Finally, way to make Darkseid a complete weenie who got his ass kicked by the Greek Gods and forgot which planet he got his ass kicked. And no, he was was Darkseid when he lost that time, they do not call him Urxas in the flashback so that’s just fanon.
The way characters talk about Motherbox even in Jack Kirby’s earliest Fourth World comics does make it sound sentient, which puts it a notch above smartphone.
To be fair, to them a Motherbox is about as ubiquitous as a smartphone is for us.
That’s fair.
So it’s main purpose is to watch funny animal videos then.And do whatever the New God’s equivalent of Tik Tok.
make it sound sentient, which puts it a notch above smartphone Oh, my smart phone is sentient. It’s just really stupid and annoying too.
A really advanced smartphone that can teleport you places and is sentient. But it’s just a smartphone. SIDEBAR: FFS, I *NEED* a “Mother Box”-style smartphone case. Never found one that looked quite right.
check Esty maybe?
But did Darkseid ever have a helicopter with his name on the side?
“Scent of the motherbox” sounds like the tag line for a truly disturbing cologne commercial starring Buster Bluth.
Or a new Goop candle.
And that’s not even as disturbing as Buster actually becomes by the end….
I haven’t seen this because in a world where I’m happy to spend 8 hours watching the Beatles examining their navels, I rebel at the notion of spending another second in the realm of any telling of Justice League. I watched the Whedon-quippiverse version, and the worst part of it was the last 45 minutes of beige nondescript buildings under grey skies assaulted by CGI creeps with glowing red lazors. Is the finale still as boring and visually flat in this cut, or is it just longer?
Watch the DCAU movies instead for actual Justice League goodness. The animated movies do a much better job of showing the heroes off.
All the ones before “Justice League: War” were good yes.
I watched the Whedon-quippiverse version, and the worst part of it was the last 45 minutes of beige nondescript buildings under grey skies assaulted by CGI creeps with glowing red lazors. Is the finale still as boring and visually flat in this cut, or is it just longer?It’s boring and visually flat, but in a completely different way!
It’s definitely less red!
*Red skies. Red. All very red.
The Beatles were charming, charismatic, witty, creative and the exact opposite of overbearingly bloated, pompous and dour. I have seen little evidence that any of this can be said of Zack Snyder’s Justice League.
Clearly you haven’t watch the entire film of ZSJL>
The finale is epic and promising unlike the Whedonized trash.
I think more or less the same: I don’t like the movie, but I am so glad it exists and I think it is way more interesting than the other spreadsheet action ones. There is a guy with a vision, and as much as I find that vision so aesthetically far away from what I like in aesthetics there is someone there trying to bring his unique project forward. Snyder may be producing dubious art, but he is an artist, a nerd, one of us.
http://maps.google.com.bd/url?sa=t&url=http%3A%2F%2Fbangparid.comhttp://www.google.com.bd/url?sa=t&url=http%3A%2F%2Fbangparid.comhttp://images.google.jo/url?sa=t&url=http%3A%2F%2Fbangparid.comhttp://maps.google.jo/url?sa=t&url=http%3A%2F%2Fbangparid.comhttp://www.google.jo/url?sa=t&url=http%3A%2F%2Fbangparid.comhttp://images.google.mu/url?sa=t&url=http%3A%2F%2Fbangparid.comhttp://maps.google.mu/url?sa=t&url=http%3A%2F%2Fbangparid.comhttp://www.google.mu/url?sa=t&url=http%3A%2F%2Fbangparid.com
My big issue is that the scene with Barry saving Iris leans way too heavily on our knowledge of them as a major couple in the comics. Considering they haven’t even met at this point, Barry’s lingering over her just feels creepy, and even raises the question of how many other times he’s taken advantage of his powers to ogle women.
It’s amazing how much the defense of Snyder’s movies often amount to “It’s ok that it’s different from the comics,” when so many of the emotional beats, big reveals and character motivations are dependent upon knowledge of the comics. Why does Clark join the Daily Planet? Because that’s how it is in the comics. Why does he wear a black suit upon coming back to life? Because that’s how it is in the comics. Why should I care about this guy who says people call him the Martian Manhunter, and why should we trust him? Because he’s in the comics.
Why shouldn’t we trust a giant green alien with glowing red eyes whose name is MANHUNTER?
And also…he says people call him that? Who? WHO CALLS HIM THAT?
I was not much of a DC comics reader as a kid, so I only recently became aware of Martian Manhunter and was surprised to find out he was a good guy. If I had no idea who he was, I would have been supremely confused by his appearance at all in this movie, talking to Lois and just showing up at the end. Also, I don’t care to rewatch Man of Steel, but I remember Harry Lennix showing up and I would be willing to bet good money that at the time, they had no idea he was going to be Martian Manhunter.
Looking like that is admiration not creepy. Your mind is really malicious always.
I absolutely loved it, and not going to back down from all the hate😎
I spent the first two acts of the Snyder cut thinking “This is definitely longer but it’s not really any better.” The third act was a marked improvement though. And then there was the epilogue and any goodwill I had was thoroughly murdered.So all in all it was a wash for me. It was interesting to see how different it was from the theatrical cut (and how the same in some unexpected ways like most of The Flash’s jokes) but I don’t need to see the rest of that. That said, if they did make it I would watch it.
I don’t hate Snyder, and I even like Man of Steel, but there’s no way in hell I’m ever sitting through his four hour Justice League movie. That just sounds like torture.But reading this, I’m actually surprised to discover that I haven’t watched a single superhero movie that came out in 2021. It wasn’t intentional on my part. I wasn’t avoiding them. Other movies just looked more interesting. After twenty years of superhero movies, I might actually be somewhat burnt out on them. That’s probably just me since even something as bland looking as Black Widow did reasonably well considering the global pandemic. But it also might be nice to have some big blockbusters that didn’t rely on people with incredible powers. Unless, of course, they make a Shadow movie. Then I’m totally in.
The new Venom will be available to rent soon, so you and me both can check that off for the year.
But I never saw the first one. I’ll be hopelessly lost!
Its airs pretty much every other day on fx movie channel.
But it also might be nice to have some big blockbusters that didn’t rely on people with incredible powers.
While the way this specific sentence is written doesn’t technically apply to Dune, Dune fits your criteria of not being anything like a superhero movie.
Velleneuve and Nolan are keeping the auteur driven blockbuster alive for now.
It’s worth remembering Black Widow came out during the month or so when Covid cases were tailing off and Delta hadn’t happened yet.
Wasn’t Alec Baldwin in a Shadow movie in the 90s? I remember it being rather terrible, but having quite impressive special effects for the time.Or is there some other Shadow of which I am not aware?
The Alex Baldwin Shadow movie is good, actually. It’s definitely on the campy side, but I love the atmosphere.I might be sick of superheroes, but I’d be okay with 1930s pulp characters making a comeback. Let’s hope that studios forget about the fact that those movies always bomb.
Alex Baldwin and failed franchises…. he was the first Jack Ryan, he was Lamont Cranston in The Shadow and that never got a sequel, and he was Dave Robicheaux in Heaven’s Prisoners and that didn’t get a sequel either.
Streaming series is the best way to do the pulp heroes.
Yep that’s the one!
You are just missing a great epic superhero film of 2021. Your loss though.
I’m in a Shadow group on FB and I’ve recently started to get back into the 1994 movie. Is it perfect? No, but Alex Baldwin does a decent job and while the effects are hokey when viewed now, it’s still good.I think The Shadow would work as a series. Start with Margo Lane arriving in New York and hearing about “The Shadow!”. She gradually learns more and more until the last episode when she meets the man himself.
It could work in the right hands..
I’d be down with a Shadow series. Every now and again, there’s rumor of a Doc Savage movie or series, but who knows if it’ll ever see the light of day.
I feel the same way about box office numbers on superhero movies that I feel when I drive past a Kohl’s: huh, I people are still spending money on that.
The scene also helpfully indicates that you’ll be better off if you’re high. Yep. Weed was both necessary AND to no avail for me as I watched this…thing.
I finally watched Black Widow on Disney+ last weekend and I thought that it was mostly a fun if inessential MCU entry, mostly benefitting from having fight choreography that is above average by MCU standards. What really drags it down for me though is that the first 25 minutes or so are unwatchable dreck. I almost turned the movie off during the slowed down, mopey cover of “Smells Like Teen Spirit.”
Meh. Would’ve preferred a New Gods movie.
Big fan of that Vince McMahon “What a maneuver!” you threw in the review. Cheers.
I still dont get the people in the comments bashing directors who make millions on good or bad movies. I wish i can get hated for making some stupid video no one likes that rakes in millions of $$
I had big plans to watch it at the start of the year, but then was just miserable when I tried to rewatch Man of Steel and Batman v Superman. Quickly realized I didn’t need more of that shit. Also, I like how the theatrical version is just a fun two hour superhero thing and doesn’t try to be much more than that.
will always very funny to me to spend 70 million dollars to turn a c- movie into a c+ movie.
Actually it turned C- film into an A movie.
I don’t intend to ever watch the Snyder cut; I don’t like his other films so why should I punish myself with this one?Still, I have a hard time believing the movie is good enough to balance out the horrible precedent set by the decision to cave in to the rabid fans’ demands. Now, they think that if they complain hard enough, the studio will do what they want, and they want the Snyder-verse restored. This movement will never die.
Ugh, that headline. It’s not Snyder’s cut of The Justice League. It’s damn near a completely different movie. There never was a Snyder cut. Such a dumb sticking point to land on, but c’mon, words mean things
That’s pretty much why it’s called a Snyder cut because it’s his original take of Justice League, not the theatrical one in 2017. You dumbo.
lol “dumbo”. Beyond parody. I don’t think you understand this, and that’s okay, but “cut” is not the same thing as “version” in film vocabulary. A cut is one way of editing the existing footage of a movie. A “director’s cut” is a new edited cut of existing footage that was shot for the film, usually with extra footage that was left behind added back in, or extraneous footage that the director doesn’t like removed. The Snyder “cut” is a completely new version of the movie, with basically an entirely new movie’s worth of production (and several movies’ worth of budget) poured into it. It is not a new cut of the original movie, by definition. It’s a completely separate film. Though spectacularly bloated, it is a better movie, but it’s just not a new cut of the same movie.
Didn’t mean to call you out.Don’t know if you like the movie or not, but whatever.
I liked the Snyder cut as well. I actual thought it was a good movie. But yes, like it die with that, no need for the other movies. He finally hit with one movie in the DCU and lets leave it at that. He seems like a nice fellow who makes some shitty and a couple of fun movies who went through and unbelieveable lost of his child and I want to have a good memory of him and feel good for him.So his Snyder cut is hopefully his last DC movie.With that said, his little piece on the Colbert show making fun of his snyder cut was great!
I watched this over two nights, which made it manageable since I am sure there were discussions at one point to give this the Infinity War/Endgame two-part finale treatment.The Pros: it is a better movie than the theatrical cut. If the theatrical cut is a D-, this is a D+/C-. It also works in part because the theatrical cut is so bad; there is something rewarding about realizing what the fuck the movie was trying to say when you can fill in the blanks and get some context from its longer, extended version.The Cons: everything else. Capitulating to a toxic fanbase, that dream sequence at the end, leaving the Darkseid portion wide open for a sequel that won’t happen, the acting from most, the fucked up version of Superman, throwing in Martian Manhunter talking to Lois… I could go on. I almost hate saying this movie was better since some portion of the Snyder fanbase would take that as vindication that it was “worth it”. I would argue emphatically that it was *not* worth it, but I’m not WB. Instead, I now get to live in a world where every bad movie is somehow not the REAL version and directors will happily let us know how the awesome version of their movie was slashed, until they can get the funding to make the “real” version to critical acclaim. You would think a movie with Batman would understand that beating a story to death (Martha, Thomas, Joe Chill, pearls, etc.) has diminishing returns, but that line was passed long ago.
What’s also sad about this trend is Alan Smithee isn’t getting any royalties.
Say what you want about the acting or the fanboys, but effects-wise, the Flash running backwards through time with the world literally reconstructing itself beneath him is one of the sickest things I’ve seen in any superhero movie so I can never talk too bad about ZSJL
It was really one of the best scenes in cinematic history. ZSJL is the best.
TFW you click a link not to read an article, but rather just to see who would write such a thing…
(To clarify — I am just sick of hearing about Snyder, his fanboys and his cuts.)
It’s so much better than the Whedon fustercluck—night and day diff.
Give me $70 million and I’ll make a version of Thunder Force that’s…… actually, no, there’s actually no way to even bring that up to mediocre.
I made the mistake of thinking the Snyder Cut would somehow redeem “Justice League” and let my expectations become unrealistic. Nope, it was still the same mess as before, but slightly tweaked.
Your description suddenly makes me want to see Suicide Squad.
And it appears this was the last new entry in this series. 🙁
I’m sorry the herb got to you, Tom.