Gal Gadot and Ezra Miller bring warmth and comic timing to a poor superhero team-up. Murky action, rushed introductions and a bland villain leave the cast doing most of the work.
Justice League has enough likeable performers for a good superhero team and too little patience to let them become one. The result is a poor action film with intermittent good company, directed by Zack Snyder from a screenplay credited to Chris Terrio and Joss Whedon. It hurries through introductions, strains for jokes and sends everyone into fights that are difficult to follow. At 120 minutes, it still manages to feel crowded and slow.
Gal Gadot does the most to keep the enterprise human. Her Wonder Woman has the composure to make the surrounding fuss seem manageable, and the London bank sequence supplies a welcome spell of direct, readable action. Ben Affleck is better when his Batman has someone to talk to, particularly Gal Gadot, than when the film asks him to carry its importance. Their exchanges suggest a team that might have been enjoyable without quite so much plot to get through.
We laughed at Ezra Miller’s Flash. His quick comic timing gives the team an ease that the screenplay’s laboured jokes cannot sustain. Ray Fisher’s Cyborg is intriguing enough to make the skimpy attention paid to him frustrating; the film moves on before curiosity has much chance to become concern. With Jason Momoa’s Aquaman also requiring an introduction, the screenplay keeps adding people without giving their relationships enough room.
Chris Terrio and Joss Whedon’s screenplay gives those people a poor reason to assemble. The mysterious boxes demand attention without becoming interesting, while Steppenwolf, voiced by Ciarán Hinds, is a thin opponent for this much combined talent. The jokes and the solemn passages seem to belong to different versions of the same film, and neither makes the threat more persuasive. The fighting needs a stronger motive than another instruction to save the world.
Fabian Wagner’s cinematography is hard to appreciate through the muddy effects, which flatten the action and make bodies difficult to distinguish. Patrick Tatopoulos’s production design fares little better; the murk leaves us struggling to get a sense of where anyone is. The Themyscira action offers some relief, with a force and purpose missing from much of the rest. Too often, though, a clear view of the fight would have helped more than another burst of movement.
Editors David Brenner, Richard Pearson and Martin Walsh keep things moving, but speed does not disguise the awkward joins between solemnity, quips and combat. The cutting gives too little time for a response or a relationship to settle before the next demand on our attention. Danny Elfman’s music cannot make the action exciting when the images give us so little to hold on to. Nor can it persuade us to feel much for characters the film has barely allowed us to know.
A team film can get away with a simple enemy if the people facing it are good company, and there are glimpses of that pleasure here. Zack Snyder has performers capable of giving the costumes distinct personalities, yet their interactions keep getting interrupted by the least interesting business. That is a substantial waste, even allowing for a few appealing introductions and some welcome wit. Anyone coming for a favourite hero should be prepared to wait while the film attends to its boxes.