Justice League

Cast: Henry Cavill, Ben Affleck, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, J.K. Simmons

Director: Zack Snyder

Writers: Chris Terrio, Joss Whedon


The DCEU does not have the best track record. Between the four movies that have been released so far they have all suffered from some combination of messy storytelling, overreliance on darkness as a substitute for drama, conflated self-importance, unfocused and clashing tones, lack of humanity, and fundamentally misguided acting choices made by a couple of certain castmembers in villainous roles. Even the inspiring, colourful, focused, refreshingly superb Wonder Woman wasn’t able to avoid all of these trappings as a couple of them seeped their way into the third act. Thus we come to Justice League, the movie it’s all been building up to. It’s been a long and turbulent journey getting here and through all the highs and lows, after all the disorder, disappointment and division, Warner Bros. has beaten the odds and created a superhero team up movie that turned out miraculously okay.

As the world mourns the death of Superman (Henry Cavill), Bruce Wayne (Ben Affleck) learns that a global threat is imminent and executes his plan to form a team of extraordinary people. Diana Prince (Gal Gadot) joins his cause after receiving a warning from her mother Queen Hippolyta (Connie Nielsen) about an attack on Themyscria by the ancient villain Steppenwolf (Ciarán Hinds). While Wayne sets off in search of Arthur Curry (Jason Momoa), an aquatic being from Atlantis, and Barry Allen (Ezra Miller), a young man with superhuman speed, Diana tracks down Victor Stone (Ray Fisher), whose body is more machine than man. They learn that Steppenwolf is searching for the three Mother Boxes, prehistoric devices of immense energy hidden all over the world. As Batman attempts to bring what will become the Justice League together however, he finds that he isn’t able to inspire them in the way that only Superman could have done and fears that they will not be able to save the world unless he can find a way to unite them.

‘Okay’ is not the word I want to use to describe a Justice League movie but, after the example set by the prior DC movies, I’ll take okay where I can get it. There are issues with the story as there have been with every other instalment (to varying degrees), but there are also two saving graces: the characters and the tone. The film does struggle to find the right balance between focusing on those characters we’ve already met, namely Batman, Wonder Woman and Superman (it’s not a spoiler to say that Superman returns (Henry Cavill’s name is on the poster) it’s only a spoiler to say how and when), and focusing on those we’re meeting for the first time, namely Aquaman, the Flash, and Cyborg. It works though because the characters are all likeable and enjoyable to watch. Affleck continues to shine as a Batman whose cold-heartedness in Batman vs. Superman has been tempered, humbled even, by his awe over Superman’s sacrifice and his guilt for the role he played. Gadot is also once again stellar as Diana as she provides the league with its moral centre and a bit of a motherly presence as the combative and often childish acts of the guys often forces her to be the level-headed one (but thankfully not in a way that does a disservice to the character).

Meanwhile the new guys on the block do their best with what they’re given. The Flash is essentially there to provide comic relief through one-liners, bewildered reactions, and just general eccentricity. It’s hit and miss, but when it hits it really does hit. Aquaman has a couple of cool moments and brings enough appeal and attitude to the role that when he butts heads with Batman it doesn’t feel like conflict for its own sake, it feels authentic. The triumph of Miller and Momoa is making their respective characters interesting and entertaining enough that I actually want to see them carry their own movies. The downside is that Cyborg is mostly sidelined to make room for these characters despite being key to the film’s climax. As for Superman, Cavill is finally allowed to use his charm and charisma to play the Man of Steel the way he was meant to be played. I still think the decision to kill off Superman was a fundamentally stupid one, but Cavill’s performance was so good that I now find myself excited about the character’s future.

With the divisive reception of the previous non-Wonder-Woman DC films, the DCEU has put itself through a lot of self-correcting and, while I can’t say that Justice League was a fantastic movie, it did feel like a definite step in the right direction. A major part of this self-correction has been with the tone and with Justice League, Warner Bros. is ever closer to capturing that tone where it can be serious and funny without coming across as pretentious or childish. There are some scenes that hold real emotional weight, as when Batman shares his private fears and anxieties with Wonder Woman or when Superman is briefly reunited with Lois Lane (Amy Adams). Then there are some genuinely funny moments as we witness the banter and conflicts that ensue between this unlikely collection of unlikely characters (Aquaman’s accidental use of the lasso of truth is a highlight). More than that, there were even a couple of moments that I found truly awesome and exciting (my favourite is one that I cannot go into because of spoilers but basically it involves Superman turning his eyes in slow-motion).

Justice League is not the gamechanger that The Avengers was and is by no means a great film. The villain is as bland and forgettable as the MCU’s were at its most unremarkable, the movie relies on clichés and routine dialogue to get things moving, and the third act is about what you would expect. There are also a bunch of big ideas and themes, something that the DCEU has always been much more interested in pursuing than Marvel, that don’t quite get the development they need. The idea of Superman’s death leading the world to a place of despair where the people feel like all hope is lost and where the darker side of humanity is able to roam free without the presence of this benevolent, god-like symbol of truth, liberty and justice to keep it in check is one I would’ve liked to see more of. Still, I’m glad that I saw this film. Even though Wonder Woman is far and away the stronger film, it was so divorced from the other DCEU movies that it could pretty much be regarded as a standalone. This movie had to build something on top of the mess that the other films had left and that, along with a tempestuous production that saw Whedon take over directorial duties when a personal tragedy forced Snyder to drop out, was no easy task. Justice League is a studio movie through and through, where each and every detail has been calculated according to charts and demographics, but a part of me feels like Warner Bros needed to make this movie as a way of decisively bringing this chapter of the DCEU to an end and allowing themselves to start a new one on a new, blank page. Now, much like the people of Earth at the end of this film, I finally feel hopeful about the franchise’s future going forward.

★★★

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The Accountant

Cast: Ben Affleck, Anna Kendrick, J.K. Simmons, Jon Bernthal, Jeffrey Tambor, John Lithgow

Director: Gavin O’Connor

Writer: Bill Dubuque


Autism is both a tricky and sensitive subject to portray in cinema and it can lead to much umbrage when done badly. Even Rain Man, a movie that was praised for opening the door to serious and thoughtful depictions of ASD, is problematic in its misleading suggestion that those who fall on the autistic spectrum are likely to be savants. Efforts have been made over the last few decades to represent autism as the complex, multifaceted condition that it is (X+Y is one recent movie that was audacious and touching in its portrayal) but there are still movies today that fall victim to the stereotypes associated with ASD. As someone who neither is nor knows anybody on the spectrum my take on The Accountant cannot help but be limited. I do however know when a film provides a problematic depiction of its subject and when it defeats its own message and can verify that this film struggles on both counts.

As a child Christian Wolff (Ben Affleck) was diagnosed with a high-functioning form of autism, a condition that has allowed him to become a highly capable accountant whose practice is actually a front for several criminal enterprises.. He is hired by Lamar Blackburn (John Lithgow), the CEO of a cutting edge robotics company, to inspect their finances when a discrepancy is discovered by their accounting clerk Dana Cummings (Anna Kendrick). Meanwhile Raymond King (J.K. Simmons), the head of the Treasury’s Financial Crimes Enforcement Agency, is investigating Wolff’s accounts and blackmails data analyst Marybeth Medina (Cynthia Addai-Robinson) into helping him. When Wolff’s investigation uncovers evidence of foul play, he and Dana suddenly become the targets of a hitman (Jon Bernthal), forcing them to go on the run. As the body count continues to rise Wolff must use the military skills he learned from his father to keep Dana safe and learn the truth behind this conspiracy.

The movie’s problem is that it wants to advocate the cause for autism, that being the idea that different abilities can come in different forms and that we need to reconsider what we deem to be “normal”, but doesn’t know how. I’m sure the gestures and expressions Affleck provides are accurate given the research he conducted but the story he’s in doesn’t know how to treat his character. Autism is used in this film as a plot device, making Wolff a savant so that he can be the great accountant the movie wants him to be, and it’s used as comic relief, as in the awkward interactions with love interest Dana Cummings. That the movie wants to try and normalise autism is all well and good, except that it goes so far out of its way to remind us of how abnormal Wolff is and laughs at his expense. What’s even more problematic is the movie’s message about victimhood being a choice. Wolff’s condition, so his father believes, makes him a victim but only if he lets it. Instead Wolff exposes himself to deafening heavy metal music and bright flashing lights while rolling a dowel along his calves every day or so, a painful experience for him, to keep his nervous system in check. As far as this movie is concerned autism is not a condition to be managed but one to be beaten into submission.

It seemed to me that the movie thought of Wolff’s autism as more of a concept than a subject. That is, the film wanted an action hero with a mental disability because it wanted an action hero with a mental disability. By giving ASD to a character of Jason Bourne-like skills (or Batman if you prefer), it almost seems like the movie is giving itself a licence to depict Wolff as an inhuman killing machine. Using what can only be described as a “superpower” Wolff can quickly aim a gun with mathematical precision, fight as if impervious to pain, and shoot a man in the face with cold indifference. Although we do get some pretty intense action scenes out of it, they come at the expense of a meaningful, substantive exploration of a real condition that millions of people all over the world live with.

Without the autism, The Accountant would just be a standard action movie with a convoluted plot and underwritten characters. The film underuses the talent at its disposal, most notably John Lithgow and Jeffrey Tambor. The FBI subplot has, in the grand scheme of things, nothing to do with the main story. There is a plot twist in the third act that is beautifully underscored in its absurdity by Lithgow’s dumbfounded expression. Affleck does give a technically good performance, but does so for a character that the movie doesn’t respect. The action scenes are very good indeed and they might have been enough to make this movie had they not enabled the disrespectful (or maybe misguided is the word) treatment of this character and his condition. There is a positive to be taken away which is that this film is, I think, sincere in its attempt to become a part of the conversation taking place. It fails, but that’s not necessarily a bad thing because it means that Hollywood is trying. This failure could end up being the motivation that inspires other filmmakers (perhaps even those who actually are on the spectrum) to do better.

★★

Batman v Superman: Dawn of Justice

Cast: Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, Holly Hunter, Gal Gadot

Director: Zack Snyder

Writers: Chris Terrio, David S. Goyer


I desperately wanted to love this film. I’ve been a fan of Batman and Superman since childhood and couldn’t wait to finally see them together. I went into this movie with great anticipation and when I finally saw the two go head to head against one another, it was an epic spectacle that was astonishing to behold. But it was done for the wrong reasons. Amazing as it was to finally see the Caped Crusader and the Man of Steel in the same movie and engaging each other in battle, some of the choices that were made in terms of story and character defy sense and reason. I don’t know if the fault belongs to Snyder for masterminding the whole thing or with the studio for their interference, but the result is a visually stunning yet fundamentally misguided mess of a movie.

In the aftermath of Metropolis’ destruction in Man of Steel, Superman (Henry Cavill) has become a controversial figure in the world. Half of the public view him as a saviour while the other half sees him as a monster. Bruce Wayne (Ben Affleck), who witnessed Superman’s destructive abilities first-hand, believes Superman to be a threat to the planet and seeks to stop him as Batman. Lex Luthor (Jesse Eisenberg) is also threatened by Superman and hatches a plan to assure his demise using the discoveries he has made from studying Zod’s corpse and his Kryptonian ship. A congressional hearing led by Senator Finch (Holly Hunter) meanwhile is held to determine whether Superman is indeed a threat to humanity and invites him to appear before the world to speak. Thus Superman must confront the responsibility he holds for his power and actions and must decide what kind of man and what kind of hero he wants to be.

When it was announced that the sequel to Man of Steel would introduce Batman into the DC universe by pitting him against Superman, I think that the excitement that arose was more than a reaction to the iconic status of the two characters. I think the reason that so many people were excited for this fight is because there is actually a valid ideological conflict to be had. Superman stands up for liberty and justice and believes in the power of hope to save people. Batman in contrast fights crime through fear and favours methods that are altogether more ruthless and brutal. Fans of the comics, the animated shows or of the previous movies featuring these heroes can understand and relate to both of their creeds which is why a clash between the two would allow for a complex and engaging dispute of epic proportions. Either the makers of Dawn of Justice did not understand this or the heart of this conflict simply got lost in the middle of all the many overlapping and convoluted stories that were crammed into this movie.

Maybe the bloated state of this movie is a reaction to the enormous success and widespread adoration of the Marvel franchise, as if DC thinks it needs to catch up as quickly as possible by doing in one movie what Marvel did in five. Even though the conflict between Batman and Superman had more than enough material to make a compelling, action-packed movie, Dawn of Justice also decided to include an inquiry into Superman’s actions, a mystery for Batman to solve, the appearance of Wonder Woman, a diabolical plot by Lex Luthor resulting in the creation of a villain the trailer saw fit to reveal, some set-up for the future Justice League movie, a number of dream sequences and an iconic storyline from the comics that occurs during the climax. While some of these stories do work, the simple reality is that the film as a whole suffers from a severe absence of focus and direction. The movie tries to juggle so many different elements that it never finds the time to adequately explore any of its characters’ motivations or the deeper meaning of its themes. Although we do get our Batman vs. Superman fight, and it is breathtaking, the investment just isn’t there.

Anyone who has seen 300 or Watchmen knows that Zack Snyder is a superb visual director. The action in Dawn of Justice is some of the best to ever involve these characters. Snyder however is not Joss Whedon and in this film he doesn’t seem to understand what it is audiences actually want from a Batman and Superman movie. He displays little understanding of the characters themselves or of how to use the story to serve them. He doesn’t seem to appreciate the virtue of establishing and developing this universe over successive chapters rather than trying to do it all in one go. Most infuriating of all was the ending where he saw fit to include an iconic event from the comics that was wholly and entirely unearned by the film’s story. As much as I admire his talents as a visual artist, I still cannot believe how profoundly misjudged some of his choices were.

I feel torn about criticising the movie in this way because there are genuinely amazing things in it. Batman himself is stupendous from the look to the action to Affleck’s performance. The inclusion of Gal Gadot as Wonder Woman worked well and now has me very much excited for her solo movie next year. The visuals and action scenes were masterful with only some of the highlights being the vision of an apocalyptic future, the actual fight between Batman and Superman and also what is perhaps the single greatest Batman action scene ever put onto film. Even the climatic battle that has no business even being in this movie was impressive to watch, especially in the way it employed Wonder Woman. No other movie this year has managed to inspire such an ambivalent reaction out of me. Although I’m giving this movie three stars, I must stress that I do not think Dawn of Justice is in any way an average film. There are parts of this film that I utterly adore and there are parts that I bitterly hate. Even though I am disappointed that Dawn of Justice was not the movie I wanted it to be, I must admit that I was drawn in by the spectacle and that, all things considered, I am glad I saw it. I just hope that Snyder learns from the backlash when the time comes for The Justice League.

★★★