Justice League – Review preview


Published on Nov 15, 2017


All that remains of the Justice League. Or better, what remains of the vision of Zack Snyder. And it is very little. The production had promised a change of tone compared to the dark colors of the previous episodes. But Justice League is not a gentle curve in the management of the franchise. It is a spin on the abrupt and disastrous results in the worst movie of the newborn DC Universe film.

Snyder had to leave the film in the final stage of production due to a bereavement in the family. The system was replaced by Joss Whedon, who had already assembled the Avengers for the competitors Marvel Studios and is known for a style devoted to comedy, an approach completely opposite to that of the colleague. It will also be true that it was Snyder to choose Whedon, but do not give heed to those who say that the film has not undergone significant changes. The post-production was long and the budget is increased further. The presence of Whedon in the film is huge and bulky, where Snyder remains only a pale shadow in the background.

The Justice League is a movie that is mutilated, tortured, reduced to the essential, cut it with the axe and rincollato with spit, renovated footprint of the model of Marvel. The almost three-hour duration initially announced were reduced to 121 minutes. Do you remember the black suit from the funeral of Superman appeared in the first promotional images? In the film, does not appear. And the controversial scene in the trailer where Bruce Wayne speaks with a hologram of which you only see the legs (which seem to be the ones of Supergirl)? Cut well as that.

There are no half measures. The Man of Steel and Batman v Superman were burdened by the didactic metaphor for the mythological vomitata on the public to reaffirm that it was a film for adults, and that the superheroes of the comics are one thing very very serious. Here we have Flash which is a joke throughout the film, Martha Kent says to Clark: “Clark always said that you are later.” Embarrassed silence. “News. Later news.”; Wonder Woman uses her lasso to make jokes at Aquaman and the jokes of Bruce in the style of Tony Stark (“what kind of superpower you have?” “I'm rich.”) Flour lot of Whedon. And, mind you, the comic, to intersperse the dynamic action and supereroistiche, it is also pleasant. But to say that this is the film he had in mind Snyder. Here, you laugh and not hurt nobody, apart from a few Parademone that ends spiaccicato and the results are more funny that creepy.

Ben Affleck leaves the Batman's brutal, psychotic, and obtuse of the previous episode and it comes back gigione and imbolsito, a cross between George Clooney and Adam West (and it is not clear why the hyper-Batman does not have a built-in viewer in the mask as that of The Dark Knight, and should continue to wear down-to-earth glasses). There is no trace of the heralded “sexual tension” with Wonder Woman is limited to the minimum of statutory auditors. The resurrection of Superman is treated briefly, resolved in three scenes, and the cancellation of digital moustache, Henry Cavill gives a look odd in many sequences, starting by the prologue.

Cyborg is a young adult-emo, the Aquaman tamarro and the Flash a farce, with an armature senseless for a sprinter are far away from their counterparts in comics, both in the aesthetic characterization that intimate. Both blond and with blue eyes in the comic, here are an indigenous polynesian and a nerd, pale, with black hair. But no one will have anything to say. If the change in the color of the skin was more marked, and they made changes to their sexual inclination, open up the sky, the fans would have appealed to the “fidelity to the original material”.

The structure of the film is The Avengers, for wire and sign. The team that gathers the Boxes of the Mothers in the place of the Cube Cosmic the first round with the bad, the harmless fight between the superheroes and the final confrontation in which we pass from the destruction porn de The Man of Steel to a setting that does not reveal but one in which the unique lives of civilians in the game are those of a family of three people. No half measures, indeed.

The emphasis of the epic is lacking, the visual system is less-than-mediocre, the choreography of fighting non-existent. One of the scenes of action refers to the great battles of the saga of the Lord of The Rings but with digital effects worthy of a tv series for the Syfy Channel. In this sense, that half a cartridge of Steppenwolf is another villain in the motion-capture of the saga that goes to join to the even-dimensional Doomsday, Ares, and Incubus. The quality seems to be faced with a any episode of the middle of the Underworld or Resident Evil.

The only emotional highs are conferred by the soundtrack. With the departure of Snyder, Warner has removed the innovative Junkie XL preferring to return to the classic sounds of Danny Elfman, who has composed the soundtracks for several transpositions supereroistiche. It's an absolute pleasure to see the power of the Bat-signal, underlined by the musical theme of the Batman of Tim Burton or Superman that strikes a fist, accompanied by the iconic theme by John Williams, is now woven inextricably with the character. Sure, Elfman, it is also the license to throw in some notes from the Avengers: Age of Ultron, just to reiterate, once again, the direction taken by the film.

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