Episode 085: Justice League

Andrew B. Dyce of Screenrant joins the fellas for some discussion on the newest entry into the DC Extended Universe.  This conversation covers the positives and negatives of our Justice League experiences, and we also give our take on the DECU’s progress thus far. Having Andrew on the show always results in insightful chat so give it a listen and let us know what you think!

What We’ve Been Up To – 0:01:51

Aaron (Three Billboards Outside Ebbing, Missouri and Wonder)
Patrick (The Death of Superman / A World Without Superman)
Andrew (#MarthaWatch2017, The Punisher on Netflix)

Justice League Review – 0:23:25

The Connecting Point – 1:48:16

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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MOVIE REVIEW: Justice League

Justice League (2017)

GOING IN

The lead up to Justice League has been at times joyful to witness, and at others incredibly frustrating. Zack Synder’s DCEU has plenty of loyal fans defending its dark tone, but legions more who seem to prefer the more comedic and light-hearted nature of the Marvel Cinematic Universe. As a big fan of all previous DC comic book films not named Suicide Squad, I can’t help but find myself in the former category. I have thoroughly enjoyed Snyder’s willingness to go deeper into the psyches of his characters and despite not loving every casting choice or action sequence, my overall response to the DCEU has been highly positive. While I mostly prefer solo superhero films, this initial team-up of the Justice League does have me very excited. The fanboy in me is really hoping for a Green Lantern appearance. I’ll also admit that I am a bit concerned about the Whedon script doctoring that occurred after Snyder took a hiatus due to the terrible tragic loss of his daughter. My hope is that Synder’s tone is not completely replaced by a focus on humor and lack of stakes.


COMING OUT

Well, consider me surprised. All of that Joss Whedon rewriting that I was concerned about? Totally worked. In fact, the film holds together well with two distinctly different tones flowing throughout, even if the difference is always noticeable and occasionally distracting. Whedon’s dialogue is mostly a hit, and especially so when it comes out of the mouth of The Flash (Ezra Miller). Flash provides us with the quippy nature the MCU has embraced, but it works because only one character is a goofball and not all five. The team dynamic is great and consists entirely of unique personalities. Aquaman (Jason Momoa) is a strong and powerful, independent bad-ass living the life of a loner but with a heart of gold. Cyborg (Ray Fisher) is brooding and angry, certain his new form is a curse. Batman (Ben Affleck) has renewed hope in humanity, regret over Superman’s death, and wants to save the world, while Wonder Woman (Gal Gadot) follows-up her strong solo debut with a nice little arc of her own about what it means to be a leader. Truly, what Justice League really has going for it most is the cast chemistry. The relationship between Cyborg and Flash really stands out. These two “accidents” have a lot in common and are both discovering and coming to grips with their powers together, along with slowly developing trust and a friendship.

Its rather miraculous that Whedon’s humor and light-heartedness intertwine with Snyder’s serious storyline so easily. This is still a superhero universe with a lot at stake, where humans die and superheroes are vulnerable. But the dialogue works by delivering moments of levity instead of turning the film into a comedy. Justice League does bring up philosophical questions and ideas that carry over from previous films, too. In doing so, it balances those heavier topics with the epic sense of fun that we should get from reading or watching superheroes in action.

When it comes to the action, it’s vintage Snyder all the way. Fast cuts with explosive visuals and some well-timed slow motion feature prominently. I was worried that the movie might have a serious fake CGI look to it, but surprisingly it didn’t bother me at all. The majority of the action sequences are moving so fast that it’s hard to get a good handle on what’s going on, however, there are a few stand-out scenes – most of them involving Wonder Woman in some capacity, and that’s never a bad thing.

The film isn’t perfect, though. The opening scene and early setup feels rushed and incohesive. Once the team is together everything feels great, but getting there is just a little clunky. The villain is also not particularly memorable, although I did enjoy him more than previous DC baddies. His personality was lacking but the action involving him was a lot of fun, and he conveys a sense of otherworldly strength that was necessary for us to believe in the threat he poses.

One last thing to mention is that the film has two very good GREAT post-credit scenes. One right after the film ends and another all the way at the very end of the credits. They are both worth waiting for. Do not miss these. The final one, especially, is textbook for how a post-credit scene should be done.

Verdict

Justice League endured a lot of changes during its production and the result is a film that has glimpses of greatness but never quite reaches that plateau. Still, the film balances its dual tones just fine and manages to provide well-rounded character development  for the whole team. Ezra Miller steals the show as The Flash and team chemistry, in general, is a big highlight. A movie doesn’t have to be perfect to entertain, and Justice League does plenty of the latter. It is a joy to see these heroes together on the big screen and many emotions were felt. My prevailing thought when walking out of the theater with a huge smile on my face was simply,  “I want more,” and that happiness is a big relief.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

Minisode 29: Watchmen

Aaron & Patch are joined by That Guy Named John from the About to Review Podcast for this September Donor Pick Minisode. We talk Watchmen, Zack Snyder’s epic 2009 cinematic adaptation of the 1980’s comic written by Alan Moore, and much like the film tackle a lot of content in a short period of time. Enjoy, and be sure to check out John’s awesome podcast and follow him on social media.

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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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MOVIE REVIEW: Alien: Covenant

In 2012, two types of people exited showings of Prometheus; those satisfied with the earnest attempt to weave some different ideas into the Alien franchise, and those pissed off at the lack of bloody, chest bursting goodness. Count me in the former. I quite liked Prometheus. I liked that director Ridley Scott chose to examine deeper themes and do some world building rather than take the easy way out in catering solely to the ADD crowd seeking nothing more than guts and gore.

Flash forward to now, and the release of Prometheus 2.0, also known as Alien: Covenant. I’ll come right out and say that I liked this film quite a bit, even if it feels like a course correction on Prometheus to appease some of those aforementioned pissed off fans.  And that’s the rub. Your thoughts on Prometheus may shape your thoughts on Covenant.  And while I liked both of these films, it is time for Scott to propel this franchise forward.  After essentially the same movie twice, it’s time to find out who the engineers are. It’s time understand some of the science and history of the titular xenomorphs.  And it’s definitely time to get a handle on whatever it is these darn synthetics are up to. If the next installment is nothing more than another ragtag crew du jour made up of scientists that make horrible life choices, we may have a problem.

We definitely get a heavier dose of aliens in Covenant. They’re faster and more vicious than ever. Chests are bursting at a more satisfying pace. It’s fair to say Scott is still able to craft tense scenes that draw audible gasps from his audience, even when the timing of those moments are pretty obvious. It’s all quite impressive to look at, with top notch production value and set design.

This time around, we are aboard the colony ship, Covenant, loaded with a crew and two thousand embryos on course for a new planet to inhabit in a galaxy far, far away. The film starts out Passengers style, with the crew snuggled in cryo-chambers for safe keeping as the years wile away during the lengthy journey. A malfunction leads to tragic events, and the crew must now deal with some new circumstances before they can consider jumping back into the cryo-pods to finish hibernating. As is typical with this franchise, very smart people make some very questionable choices. Years of study and training can somehow be derailed by the soulful stylings of Mr. John Denver.

As the crew detours to seek out strange signals, hoping they may have discovered a much closer, habitable planet than the one they’ve prepared for, because…wheat…. shenanigans soon ensue. This crew is led by Daniels (Katherine Waterston) and Oram (Billy Crudup), both of who are up to the task as the film’s main protagonists. Add Daniels as another in a sequence of strong female characters in the franchise. Much like Sigourney Weaver’s Ripley and Noomi Rapace’s Dr. Elizabeth Shaw, Waterston portrays Daniels with a combination of intelligence and strength. Also notable is Danny McBride, as the ‘throw caution to the wind’ ship’s pilot, Tennessee. He’s a franchise trope, but a fun one to watch.

But let’s not think for a second this film doesn’t stand on the broad shoulders of Michael Fassbender, here playing two versions of synthetic android- David from Prometheus, and Walter, a new and improved version of synthetic traveling with the Covenant crew. We knew David was up to something in Prometheus, but Scott doubles down on that idea here in Covenant. Fassbender’s movements, chilling demeanor, and ‘cat that ate the canary’ expressions are worth the price of admission. He ably transitions from one personality to another, giving each synthetic an unique voice.

Alien: Covenant fits neatly into the Alien mythology. It ties well with Prometheus, answering enough of the lingering questions from that film to move forward. Yet, whatever comes next needs to do just that. Move forward. We cannot be satisfied with another side quest film that treads water, regardless of how entertaining it is. Regardless of how brilliant Fassbender is. Regardless how much John Denver is used. Covenant does enough to put the series in a position to build upon the mythology, but we’re at the proverbial crossroads. Which way Scott goes next may determine the viability of future installments.

Episode 059: Almost Famous

We’re coming-of-age this week with a conversation about one of the greats. Cameron Crowe’s Oscar-winning screenplay fuels this story of a young wanna be rock journalist traveling with an up and coming band, and it smacks us right in the feels in many different ways. We love movies, and we love music, so we really love movies about music. Come hear this fun discussion a truly wonderful film.

What We’ve Been Up To – 0:02:19

Almost Famous Review – 0:13:27

The Connecting Point – 0:59:08

Download this Episode


Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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