I’ve seen a lot of passionate people on Twitter grieving the loss of Henry Cavill’s superman role. The Hollywood Reporter released a fresh scoop detailing how Warner Bros. is allegedly releasing Cavill from his contract. It’s honestly not very surprising.
On top of the Mustache-gate debacle featured in Justice League, DC just simply took Cavill for granted. They thought he had a debt to them for building up his career in a major way with “Man of Steel” and that they could do no wrong. They mistakenly thought he was a team player, a DC-Lifer in the same way that Robert Downey Jr. is for Marvel.
The reality is that Cavill wasn’t that great as superman because the movies both weren’t very good and even, oddly, chose to use him as an uninspiring, emotionally void supporting character. “Man of Steel” was a subpar movie, poorly directed and slam-packed with so much corporate advertising that it felt sleazy and desperate.
The premise that Cavill has the “potential” to be a great superman if he were used properly is unknowable. He’s a stiff American Eagle model with the jawline of a God but the personality of an Olympic announcer. He says all of his lines clearly but there isn’t any real passion or character-building behind it.
It’s as if Henry Cavill had been built by James Lipton in a film factory that produces A.I. performers. The dialogue is written in a stilted and boorish manner, sure, but the choice in actor didn’t help, either. Let’s give our comic book characters personalities again, even if it means returning the diaper.
Why not give him a Kansas-style accent? Make him espouse American values, even if it’s slightly at odds with his morality or short term decisions/choices. The most engaging thing about superheroes is their imperfectness. The whole intrigue, at least for me, is the concept of ‘what would you do if you were suddenly granted god-like powers?’
People have always claimed that fame reveals or amplifies a person’s true identity. Multiply that by ten or a hundred if that individual not only instantly became world famous, but also had the power and ability to spite his enemies with no recourse?
That’s an interesting dilemma and the angst surrounding such an issue was not believably brought out or portrayed by Henry Cavill. He looked contemplative and thoughtful when he was supposed to feel hesitant and broken. Neither the character nor the actor ever truly understood the magnificent impact of their powers.
The Avengers set a high bar when it comes to skillfully integrating a barrage of characters. They start with scenes of single characters and slowly evolve the cumulative situations in a natural way, where it feels right for the superheroes to be meeting, as the film’s title promises.
There’s a right and a wrong way to integrate characters into a universe, or a story, or a first film. And they’re all unique and require a certain sensitive, graceful directorial touch. It can’t feel like an inspection at the airport: you’re required to do this first before we can all get together and head towards our desired destination.
The way that these intros are put together can and often does determine the quality of the rest of the film. If the director treats the short introduction as a meaningless requirement and not a vital opportunity to show off a character’s personality and style, then the rest of the film probably won’t put much attention or emphasis on such details either.
Note: all members of the Justice League are included in the grading, not only the characters who haven’t had a solo film or been in any DC films yet. Superman’s inclusion is a bit of a technicality, but I counted his late-in-the-game arrival anyways. Also I decided to add a short bit on Alfred’s introduction – so he’s in there too.
I definitely enjoyed the isolated scene introducing Batman in Justice League. He’s usually brooding as Batman or as Bruce Wayne at some party he doesn’t want to be at. Here, we see him perched on a building top in what seems to be a simple job: grab the thief, tie him up, hand him to the police; classic but unexciting Batman. Instead, he hangs the thief off the edge of the building.
“Fear…I can smell it,” he says, which in any other context would be a very corny line. But it has a very literal purpose in this scenario. The flying creature that Batman is tracking is attracted to fear like moths to a light. He pulls the man back onto the building top and jumps onto the flying creature.
It gets some exposition done while also showing off Batman’s great suit and overall look, almost demon-like. It’s just enough for a character that nobody needs to get more familiar with. We’re on board with Batman: we like him, we know him – he’s cool.
Batman/Bruce Wayne introduction: B+
It might be a very small detail, but I really like how they bring Alfred into his first scene/moment. He doesn’t join the action with a funny quip such as, “You’re at it again, I see” or, “What a surprise, you’re out at night..”
Alfred, in the comics at least, is an essential character, not a comedic one. He’s in Batman’s ear, assisting him with information, radar, locations, etc. And that’s how Justice League introduces him. He makes a statement about the situation in a frank manner, as if he’s seen and done this a thousand times before, which he has.
Michael Caine was very good as a more fatherly version of Alfred, but Jeremy Irons’ no nonsense portrayal is just more fitting for Ben Affleck’s battle-worn, aging Batman.
Alfred introduction (albeit a short one): A
Wonder Woman/Diana Prince
Gal Gadot as Wonder Woman is arguably the best aspect of the DC film universe thus far. She’s magnetic yet filled with inner and outer strength. She’s opinionated and has a backstory that meshes well with interesting scenarios. And that makes it all the more disappointing that her brief introduction involves having to thwart the plans of this boring ass, hat-wearing terrorist:
Now, I understand that we know who Wonder Woman is and they just wanted to sweep through her intro and get to the characters that we haven’t met yet. But why even have a solo scene involving her if you’re going to phone it in like this? No creativity whatsoever.
A bomb. Hostages. Slow-motion (hi Zack!). Soldier-types with assault rifles. And a couple of corny lines to cap it all off: “I don’t believe it…what are you?,“. Ha. Ha. Heh. “I’m a believer,”. So she just repeated a similar sentiment back to him, but with added confusion: Is Diana saying that she believes in herself? That’s no surprise – she’s an Amazonian superhero; there’s no reason for her to not believe in herself. Thumbs up, screenwriters…Diana and Gal deserve better.
Wonder Woman/Diana Prince introduction: D+
They handled Cyborg’s introduction really poorly. All exposition and brooding. How are we supposed to get attached to this vital member of the league if his first scene is comprised solely of him complaining about his “curse”?
It isn’t a compassionate father-son relationship: Victor yells at his dad and exclaims that he’s made him into a MONSTER! Sound familiar? Nervous scientist tries to calm raging man with confusing newfound abilities? It’s been done before. And this repeat of such a scenario doesn’t bring anything new to the table.
It only detracts from Cyborg’s arc or lack of an arc. If they could have added a little bit of character interplay, like a football game featuring Victor where his father shows up or doesn’t show up, either way. Anything that brings us into their relationship on some emotional level.
Or ignore the father, as they mostly did here anyways, and just show us what Victor is all about, walking through the city streets, going to school, etc. To just drop Victor, distraught about his “monstrous” condition, onto the audience’s lap is a shame and a bit of a disgrace to his comic book legacy.
Conflict should arrive after something good or at least authentic happens, writers. Otherwise why should we feel bad or care or feel pity for Victor? The only impression I got from his first scene is that he’s very dramatic, whiny, and pretty outwardly cruel to his father. What’s that one quote about how crisis reveals character? No revelations here..
If you didn’t know about his storyline from the comics, it would be easy to think that he was going to lash out at his father and become the villain, eventually meeting up and battling it out with the league.
One saving grace as a result of Victor being a smug, angry teenager in his introductory scene: it gives Diana the opportunity to breathe as a character and act as a sort of motherly figure. She has a sense of responsibility, the sort that’s required of her as a major leader within the league.
Cyborg/Victor Stone introduction: D
The problem with bringing Aquaman to the big screen has always been the fact that he’s Aquaman. He talks to fish, as Batman lightly quips in their first scene. The screenwriters desperately want to tread within that fine line of creating a serious, complex character while also somewhat acknowledging his silly origins. He doesn’t jump ten feet into the air and plunge into the water in a half-spin torpedo dive. He does this:
He flops backwards and slides underwater, disappearing. It’s kind of funny, really. The writers so badly want to avoid any form of mockery about the character and his abilities that they don’t really show them off much at all to begin with, and when they do, the shot is held for a total of .5 seconds. Blink and you’ll miss the back-flop into the water.
We see these cave-like drawings on the wall earlier in the scene:
The simple sketches create a mythic aura to the character. Batman doesn’t know who he is, apparently, even though he has a dossier on every other league member or future member. Curry doesn’t want to talk to or be a part of Batman’s plan.
It’s kind of meta: the character that the audience and Batman have never met is annoyed for having to explain himself, for having to give any form of exposition. They barely have a conversation before suddenly the shirt is off and he’s plunging down into the ocean. Aquaman doesn’t need to talk too much: his powers are very tranquil and highly visual in concept.
It’s not a thrilling or action-packed scene, but they don’t all have to be, especially considering the very friendly serving of it later on in the film. It’s teasing his potential, which is huge and awe-inspiring in scope. They got most of the cultural stigmas/comedic aspects of his character out of the way.
“Can you at least point me to Atlantis?,” Bruce Wayne asks, a sly, knowing look on his face.
Affleck delivers it perfectly: he’s not making fun of him, he’s just giving him a bit of a hard time. A quarter smile – he doesn’t even think it’s all that funny, just intriguing. If Bruce started laughing heartily, smiling ear-to-ear, slapping Arthur on the back in jest – then we’d have a problem. But that doesn’t happen.
Batman is the leader and organizer of the league, so logically it makes sense that he would be the one to make the trek to Arthur’s location and try to recruit him. It just happens to work out that Batman is the most well-known person in the league and in real life – he has the most movies, toys, everything – so it evens out nicely to have the comfort of the known confronting the new. The interplay between them is a give-and-take: Batman and his stoic stiffness and Aquaman with his pessimism and disinterest.
Arthur even has a slight ideological difference with Batman, creating conflict within the league, an important part of any superhero team-up movie; they can’t all get along the second that they lay eyes on each other. A solid, subtle introduction of a tricky, easy-to-fumble superhero.
Aquaman/Arthur Curry introduction: B+
The Flash/Barry Allen
Whereas Cyborg’s introduction had too little emotion, The Flash’s intro has a bit too much sappiness. It’s important to explore his past, but this scene right here shouldn’t be our first look at The Flash:
It’s a quick way to explain a general summary of his past and catch up on where he’s currently at in his life. They decide to cut straight to the prison, to this sad sequence of pure dialogue. Billy Crudup delivers an intense, authentic plea to Barry to stop visiting him and live his life. He speaks slowly and intently, as if he’s been thinking about this for a long time, practicing the words to perform for Barry and try to get him to move on.
The introduction is brief and only memorable for Crudup’s short but impactful performance late in the scene. It’s a huge contrast to Barry’s later role as the comedic relief, although there’s not much relief: he’s extremely unfunny. Bad timing, delivery, and some pretty awful writing, to be fair. The quips just fell really flat for me.
The Flash/Barry Allen introduction: D+
Superman’s resurrection is a bit convoluted and overlong. It features a bit too much slow-motion considering the fact that the main catalyst in the plot/scene is THE FLASH.
The fight between Superman and the rest of the league is visceral and exciting, yet entirely pointless as well as contradictory to the premise of a team of superheroes. Superman can destroy them easily; he’s more powerful than all of them combined.
So basically the film is making the assertion that the Justice League is a group of back-up heroes in the event that Superman dies and isn’t there to swiftly clean up any mess. There is a league in the comics meant for those who apply to be a part of the league and aren’t accepted. I forget what the secondary group is called, but I know it’s not “Justice League”.
It’s admittedly pretty cool to see all of the heroes vulnerabilities come to light as well as all of Superman’s unlimited strengths. It’s a moment of bigness: I’m better, you know it, try to deal with it. It doesn’t add or continue any plot strain from Man of Steel or BvS: it’s an isolated, one time zombie-Superman break out.
It isn’t the worst way to introduce a major character late in a film, but it isn’t ideal for it to be unconnected to the past or the present in any meaningful way other than, “we can’t do this without him!”.
Superman/Clark Kent re-introduction: C-
And that’s all, folks. I don’t have anything to say about the rest of the film, both in the positive sense and in the sense that it’s been covered and dissected in every corner of the internet already. It’s not a bad movie; it’s got many good qualities and moments. But it also unfortunately falls a part many times, unable to withstand the pressure of juggling so many comic book entities in a single film.