Justice League: Marvel is for Boys, DC is For Men… Seriously?



DC Comics’ latest installment of their cinematic universe, directed by Zach Snyder has an ensemble cast barely keeping it together as a mediocre watch. Without trying to build up any drama regarding the movie, it was a disaster in the name of the DC brand ethnicity. The overall experience gathers up into thinking it as more of a business venture into the million dollar club rather than the good old comic culture on the silver screen. The disappointment does not end there though. The excessive styling of character build up, the uneven splendor of flashy, customized production, a complete waste of acting, coherence, and substance, Justice League is not worth the hullabaloo whatsoever.


In the wake of the humanitarian crisis, superheroes overcome their differences and come together to save the world. It stirs embarrassment and haplessness as a hollow attempt to restore DC fairness in the form of a movie. The mission of the team is to keep the ‘Mother Boxes’ away from the clutches of the megalomaniac Steppenwolf in a quest to stop Earth from destruction. Lumber-sexualisation of the characters to drastic superhero attitude, the movie was a mess. A live mayhem of sorts, the movie crawls through a storyline that provokes nothingness into a slow-mo funeral of the movie itself.

Bruce Wayne plays the leader in distress trying to bring the group together, attempting to induce a nationalistic behavior in exchange for audience-trauma. The final Mother Box suddenly left in an unattended vehicle for Steppenwolf to snatch it right away while the team is off to do a supposedly different job; I mean, what was that about? The no complication in storyline could have been played with so much finesse. The relationship consistency between the characters through illogical, lame puns make you question your decisions to actually sit through the movie. Danny Elfman’s background score was a mismatch just as you thought this could be the last saving grace.


The ensemble cast of the who’s who work together in a production blunder. Ben Affleck, with his no expression game as Batman and Henry Cavill’s unevenness as Superman were the lows. Gal Gaddot had a positive contribution though, and the scenes with Ezra Miller as flash gave it a good back-story until the time he starts playing the comic relief. Ray Fisher’s Cyborg is as superficial as it can get while Jason Momoa’s Aquaman, the most anticipated character of them all, was only shirtless and handsome and features in some bad CGI aggravated scenes of ‘what-was-the-makers-thinking’. J.K. Simmons as Commissioner Gordon and Amy Adams as Lois Lane had minimalistic screen space. The entire movie tests your endurance of bewilderment, but not in a good way.

All criticism aside, it did rise into the feats of a million dollar blockbuster. Like it or hate it, the dutiful venture of this movie keeps us craving for a better production set due in the next slot. For whatever reasons it may be, the lack of density and untouched creative culture implementation in the final cut leaves the scope of a great potential comeback in the next movie.