Without getting past the ankle into psychoanalytic sludge, one could say that the new
Justice League
("
Zack Snyder's Justice League
") is really all about killing the father.
Or, better, parents.
That is, to end all the enemies disguised as taboos against whom the delivery revolts rather than simply extended reformulated
in a way as colossal as it is overwhelming
by
Zack Snyder
.
And the villains, in order, are: a) the mutilated and loudly failed version of 2017;
b) the will to atone for each of the sins committed in the previous installment of
'Batman v Superman: Dawn of Justice'
, as stimulating at times as always boring;
c) the urgent need to propose a duly dark alternative to the harmonious, peaceful and luminous rigor of the
Marvel
blockbuster '
Avengers
', and d) the no less urgent obligation of Zack Snyder to
claim himself as an author
in a universe only thought for franchises devised by executives.
There are many shadows against which the film fights;
there are many parents to literally eliminate.
Let's say that
Zack Snyder
, who for reasons as personal as tragic (the death of a daughter) had to abandon the filming of the film released three years ago, finally achieves what was required of him: to
compose his own, differentiated and tormented identity to the DC universe
.
From the format of the non-panoramic screen itself, the 35-millimeter film standard (which responds to the 1.33: 1 numbering) and which is appropriate for the IMAX, to the provocatively dark photograph of
Fabian Wagner,
almost in white and Negro, going through the previously non-existent development of the characters so close to the rules patented by
Christopher Nolan
, everything leads to a mega-production designed not so much to murder the parents as to simply eat them.
Cannibalism, along with incest, is the other taboo in the Oedipal dance.
Excuse me.
If something irritated about the previous film, it was the total lack of coordination of what seemed to be a conversation of sea breams between those who appeared as the three creators: Geoff Johns, Joss Whedon and Snyder himself.
Along with
the hilarious, lacerating and hilarious
(all in one) action scenes arranged in pantagruélico 'set-pieces' as close to the unreal as to simple noise, the characters were lost in dialogues completely emptied of oxygen or grace that they made them look idiotic or just clueless (someone had skipped a few pages of the script).
But the saddest thing was to see how
Batman
(Ben Affleck) related to
The Flash
(Ezra Miller) as
Ironman
did with
Spiderman
.
And that was just a detail.
The very story of the cosmic cubes differs little from the stones and the gauntlet of '
The Avengers
'.
That is, if in the natural order of superheroics, Superman and his DC people went before Marvel, it was sad to see the father imitate the son.
It was the Oedipus complex, again, but backwards and forwards.
Now not everything is solved.
In fact, the script twists and turns with a being with powers gives for what it gives.
As is the rule in the matter, not a single superhero without a childhood, youth or mid-pension trauma;
not a single superhuman being without having to endure the most human punishment of all: your father not attending your soccer game.
Despite this, the virtue of '
Zack Snyder's Justice League
' consists in integrating everything in a double triptych
(there are six parts plus an epilogue with the Jocker and the Martian Detective at the end)
organic that struggles to leave the screen , which fights against the limits of what by definition seems unlimited.
Snyder, and he is grateful, ultimately opts for the less obvious, more murky, and always blatantly spectacular path.
Dionysus devours Apollo
, to use Nietzsche and his classic tragedy.
At some point in the multiple statements on the matter, Snyder commented that his inspiration was
The Seven Samurai
.
The reference was misunderstood.
And not because the total number of heroes was only six, that too.
The problem was more unconscious arrogance.
And why cite
Bergman's
Persona
or
Antonioni's
El eclipse
?
Total, it's free.
Now, at least, the intention is understood.
The ultra-beings are mediated beings in the midst of a world that is permanently threatened.
That is,
as a metaphor for all this that we live with or without a pandemic, it is worth it
and, now, the distant appointment to the samurai, professional murderers with a conscience, too.
Again,
Wonder Woman
(Gail Gadot) insists on getting the best part.
His appearances are the most adjusted to the reason for this simple unreason: for opportunity, sympathy and even vulnerability.
And at his height is the always out of water Aquaman (Jason Momoa).
The space given to Lois Lane (Amy Adams) and Matha Kent (Diane Lane) saves Superman (Henry Cavill) from hurtful blankness.
Without flowing at all, it does not offend either.
And Ben Affleck's Batman, halfway between muscularity and simple obesity, is still there.
He is again hating or worshiping as hateful.
There is no middle ground.
And one more: the perfidious Steppenwolf with a thunderous voice gets better with armor.
Which already is.
The result, like this, is the best possible.
There is an alternative and
Snyder manages to successfully stand up to each of the parents
who gripped him, or gripped him.
Of course, an incest is still an incest.
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