DC Studios’ newest feature film to hit the big screen will be in theaters worldwide this summer from Warner Bros. Pictures, starring Milly Alcock in the dual role of Supergirl/Kara Zor-El.
Craig Gillespie directs the film from a screenplay by Ana Nogueira.
When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.
Alcock stars alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, and Jason Momoa.
DC Studios heads Peter Safran and James Gunn are producing the film, which is based on characters from DC, Supergirl based on characters created by Jerry Siegel and Joe Shuster. The film is executive produced by Nigel Gostelow, Chantal Nong Vo and Lars P. Winther. Behind the camera, Gillespie is joined by director of photography Rob Hardy, production designer Neil Lamont, editor Tatiana S. Riegel, costume designer Anna B. Sheppard, Visual Effects Supervisor Geoffrey Baumann, and composer Ramin Djawadi.
DC Studios Presents a Troll Court Entertainment Production, The Safran Company Production, A Film by Craig Gillespie, “Supergirl,” which will be in theaters and IMAX® across North America on June 26, 2026, and internationally beginning 24 June 2026, distributed by Warner Bros. Pictures.
Watch the funny first trailer for A MINECRAFT MOVIE starring Jason Momoa and Jack Black. Directed by Jared Hess, the movie is the first-ever big screen, live-action adaptation of Minecraft, the best-selling video game of all time.
The film also stars Emma Myers (“Wednesday”), Oscar nominee Danielle Brooks (“The Color Purple”), Sebastian Eugene Hansen (“Just Mercy, “Lisey’s Story”), with Jennifer Coolidge.
Welcome to the world of Minecraft, where creativity doesn’t just help you craft, it’s essential to one’s survival! Four misfits—Garrett “The Garbage Man” Garrison (Momoa), Henry (Hansen), Natalie (Myers) and Dawn (Brooks)—find themselves struggling with ordinary problems when they are suddenly pulled through a mysterious portal into the Overworld: a bizarre, cubic wonderland that thrives on imagination. To get back home, they’ll have to master this world (and protect it from evil things like Piglins and Zombies, too) while embarking on a magical quest with an unexpected, expert crafter, Steve (Black).
Together, their adventure will challenge all five to be bold and to reconnect with the qualities that make each of them uniquely creative…the very skills they need to thrive back in the real world.
Oscar nominee Hess (“Ninety-Five Senses,” “Nacho Libre”) directed, with Roy Lee, Jon Berg, Mary Parent, Cale Boyter, Jason Momoa, Jill Messick, Torfi Frans Olafsson and Vu Bui producing, and Todd Hallowell, Kayleen Walters, Brian Mendoza, Jonathan Spaihts, Pete Chiappetta, Andrew Lary and Anthony Tittanegro executive producing.
The director’s creative team behind the camera includes BAFTA-nominated director of photography Enrique Chediak (“127 Hours,” “Transformers: Rise of the Beasts”), Oscar-winning production designer Grant Major (“The Lord of the Rings: The Return of the King,” “The Meg”), editor James Thomas (“Pokémon: Detective Pikachu”, the “Borat” films), Oscar-winning VFX supervisor Dan Lemmon (“The Jungle Book,” “The Batman”), and costume designer Amanda Neale (“The Meg,” “What We Do in the Shadows”). Casting is by Rachel Tenner.
The music supervisors are Gabe Hilfer and Karyn Rachtman, and the music is by Mark Mothersbaugh (“Thor: Ragnarok,” the “LEGO®” movies).
Warner Bros. Pictures and Legendary Pictures Present A Vertigo Entertainment/On The Roam/Mojäng Aktiebolag Production, A Jared Hess Film, “A Minecraft Movie.” The film will be distributed by Warner Bros. Pictures worldwide and by Legendary East in China, and released only in theaters and IMAX in North America on April 4, 2025, and internationally beginning 2 April 2025.
Tickets are now available for AQUAMAN AND THE LOST KINGDOM, plus a brand new trailer has also dropped for director James Wan’s film. Aquaman himself, Jason Momoa—along with Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II and Nicole Kidman—return in the sequel to the highest-grossing DC film of all time: “Aquaman and the Lost Kingdom.”
Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.
All returning to the roles they originated, Jason Momoa plays Arthur Curry/Aquaman, now balancing his duties as both the King of Atlantis and a new father; Patrick Wilson is Orm, Aquaman’s half-brother and his nemesis, who must now step into a new role as his brother’s reluctant ally; Amber Heard is Mera, Atlantis’ Queen and mother of the heir to the throne; Yahya Abdul-Mateen II is Black Manta, committed more than ever to avenge his father’s death by destroying Aquaman, his family and Atlantis; and Nicole Kidman as Atlanna, a fierce leader and mother with the heart of a warrior.
Also reprising their roles are Dolph Lundgren as King Nereus and Randall Park as Dr. Stephen Shin. Directed by Wan, “Aquaman and the Lost Kingdom” is produced by Peter Safran, Wan and Rob Cowan. The executive producers are Galen Vaisman and Walter Hamada.
The screenplay is by David Leslie Johnson-McGoldrick, from a story by James Wan & David Leslie Johnson-McGoldrick and Jason Momoa & Thomas Pa’a Sibbett, based on characters from DC, Aquaman created by Paul Norris and Mort Weisinger.
Joining Wan behind-the-camera is his sterling team of “Aquaman” artisans: director of photography Don Burgess (“The Conjuring 2”), production designer Bill Brzeski (“Jumanji: The Next Level”), editor Kirk Morri (“Furious 7”), composer Rupert Gregson-Williams (“Wonder Woman”) and music supervisor is Michelle Silverman (“Malignant”). Visual effects supervisor Nick Davis (“The Clash of the Titans” films, “The Dark Knight”) and costume designer Richard Sale (“Doctor Strange in the Multiverse of Madness,” “Ready Player One”) also join.
Warner Bros. Pictures Presents An Atomic Monster / A Peter Safran Production of A James Wan Film, “Aquaman and the Lost Kingdom,” set to open in theaters internationally beginning 22 December 2023 and in North America on December 22, 2023; it will be distributed worldwide by Warner Bros. Pictures.
Director James Wan and Aquaman himself, Jason Momoa—along with Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II and Nicole Kidman—return in the sequel to the highest-grossing DC film of all time: “Aquaman and the Lost Kingdom.”
Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.
All returning to the roles they originated, Jason Momoa plays Arthur Curry/Aquaman, now balancing his duties as both the King of Atlantis and a new father; Patrick Wilson is Orm, Aquaman’s half-brother and his nemesis, who must now step into a new role as his brother’s reluctant ally; Amber Heard is Mera, Atlantis’ Queen and mother of the heir to the throne; Yahya Abdul-Mateen II is Black Manta, committed more than ever to avenge his father’s death by destroying Aquaman, his family and Atlantis; and Nicole Kidman as Atlanna, a fierce leader and mother with the heart of a warrior. Also reprising their roles are Dolph Lundgren as King Nereus and Randall Park as Dr. Stephen Shin.
Directed by Wan, “Aquaman and the Lost Kingdom” is produced by Peter Safran, Wan and Rob Cowan. The executive producers are Galen Vaisman and Walter Hamada.
The screenplay is by David Leslie Johnson-McGoldrick, from a story by James Wan & David Leslie Johnson-McGoldrick and Jason Momoa & Thomas Pa’a Sibbett, based on characters from DC, Aquaman created by Paul Norris and Mort Weisinger.
Joining Wan behind-the-camera is his sterling team of “Aquaman” artisans: director of photography Don Burgess (“The Conjuring 2”), production designer Bill Brzeski (“Jumanji: The Next Level”), editor Kirk Morri (“Furious 7”), composer Rupert Gregson-Williams (“Wonder Woman”) and music supervisor is Michelle Silverman (“Malignant”). Visual effects supervisor Nick Davis (“The Clash of the Titans” films, “The Dark Knight”) and costume designer Richard Sale (“Doctor Strange in the Multiverse of Madness,” “Ready Player One”) also join.
Warner Bros. Pictures Presents An Atomic Monster / A Peter Safran Production of A James Wan Film, “Aquaman and the Lost Kingdom,” set to open in theaters internationally beginning 20 December 2023 and in North America on December 20, 2023; it will be distributed worldwide by Warner Bros. Pictures.
So, I stated in a review from a couple of weeks ago that the Summer movie season has officially begun with the early May foray into the Marvel Cinematic Universe. And just when does the movie madness kick in, where’s the big action blockbusters? Well, it goes full-throttle right now as we shift (see what I’m doing here) from the MCU to the F&FU (maybe I should leave off that last letter). We can officially call this one of our most enduring film franchises as it’s now well over 21 (so don’t imbibe before sliding into the driver’s seat). This weekend, and for a few weeks thereafter, action enthusiasts will buckle up at the multiplex for FAST X. And man, you can pop your corn on those searing engines.
Just like today’s big streaming release, this one starts with a flashback, to the big stunt set piece from FAST FIVE. That’s when our heroes trekked to Rio in order to literally rip a big armored safe from the wall of the HQ of drug kingpin Hernan Reyes (Joaquim de Almeida). As radio comic Jerry Cologna said (aging myself here), “Ah, something new’s been added”. Turns out that part of the big chase was Hernan’s son, Dante (Jason Momoa), who took a dip as his pop was offed. And now we’re back to today as Dom Toretto (Vin Diesel) hosts a big outdoor feast for his visiting grandmother Abuelita (Rita Moreno). Oh, and it’s also a going away party for the agency-backed mission in Rome lead by, appropriately, Roman (Tyrese Gibson), aided by Ramsey (Nathalie Emmanuel), Han (Sung Kang), and, of course, Tej (Ludacris). All seems right until they get a surprise late-night visitor, former enemy Cipher (Charlize Theron), who is badly wounded. Seems that she and her crew were ambushed by Dante and his squad. Dom contacts his man with US intel, Little Nobody (Scott Eastwood) who has no knowledge of the Rome mission. It’s a set-up, a trap! It’s off to Italy for Dom and his wife Letty (Michelle Rodriguez), who arrive just in time for Dante’s frame job. The Toretto crew is thought to have unleashed a big explosive device that almost levels Vatican City. Letty is nabbed, while Dom embarks on a globe-wide hunt for Dante, with the new agency head Aimes (Alan Ritchson) in hot pursuit. Luckily Mr. Nobody’s daughter Tess (Brie Larson) believes in Dom, as does brother Jakob (John Cena) and a reluctant Shaw (Jason Statham).
The action is so, well, F&F, it’s tough to focus on principal performances. Of course, the lead is, once again, Diesel, who is the anchor and father figure to his “famlee”, offering sage advice and mentorship to “little B’, a bit of romance to Letty, and snarling retorts to all the baddies. And the main one this time is the scenery-chewing Momoa, who seems to truly enjoy channeling his “dark side” as the gleefully sadistic Dante. Imagine the crossed DNA of the Joker (one scene actually recreates a bit of the 1989 BATMAN) and Fabio (could this be his audition for DC’s “Lobo”). Although many of the one-liners are “groaners”, nobody can accuse him of “phoning it in” even as he seems too “campy” for a fellow avenging his father. Theron gets to go more villainess in the last act, while MCU sister Larson flexes her martial arts chops while engaging in verbal showdowns with Ritchson. Coming off her recent triumph in the D&D flick, Rodriguez is a full warrior queen. Cena scores some laughs as the affable protector of Dom’s nephew, while Statham flaunts that surly attitude as Shaw. Naturally, we get to see Gibson and Ludacris bicker and squabble in bits that were tiresome three movies ago. And it’s nice to see screen vets Moreno and Helen Mirren even though they have little to do other than lend their still white-hot charisma.
The traffic cop in the director’s chair this time out is Louis Leterrier, who is able to keep the film moving even as it slows down for some exposition that builds to another “can we top this” action set piece. And that’s in between the many locale changes, swiftly going from Rome to LA, to London to Puerto Rico and Portugal, with a side trek through the frozen tundra. What’s truly surprising is that the script, for one scene as Aimes gloms over the history of Dom’s crew, actually goes “meta” even veering into satire as it embraces the absurdity of the stunts (monitors behind Aimes replay clips from previous entries). So, yes they know it’s some goofball…stuff. It’s odd that they start with a sequence from FIVE since that’s the one that perhaps began the “break from reality” along with physics and gravity. And I know these flicks are review-proof since anyone that’s been exposed to the franchise knows what they’re “getting into”, despite what will probably be an irritating final act (at least they’re placated with a nifty mid-credits scene). If you approach this with the proper frame of mind, you’ll enjoy the wonky excess (and I’m including Momoa) of FAST X. For the rest of us, at least it’s well short of three hours. Whew!
L to R: Vin Diesel and Daniela Melchior in FAST X, directed by Louis Leterrier
Watch the thrilling Big Game spot for FAST X, hitting theaters May 19.
Fast X, the tenth film in the Fast & Furious Saga, launches the final chapters of one of cinema’s most storied and popular global franchises, now in its third decade and still going strong with the same core cast and characters as when it began.
Over many missions and against impossible odds, Dom Toretto (Vin Diesel) and his family have outsmarted, out-nerved and outdriven every foe in their path. Now, they confront the most lethal opponent they’ve ever faced: A terrifying threat emerging from the shadows of the past who’s fueled by blood revenge, and who is determined to shatter this family and destroy everything—and everyone—that Dom loves, forever.
In 2011’s Fast Five, Dom and his crew took out nefarious Brazilian drug kingpin Hernan Reyes and decapitated his empire on a bridge in Rio De Janeiro. What they didn’t know was that Reyes’ son, Dante (Aquaman’s Jason Momoa), witnessed it all and has spent the last 12 years masterminding a plan to make Dom pay the ultimate price.
Brie Larson is Tess in FAST X, directed by Louis LeterrierJason Momoa is Dante in FAST X, directed by Louis Leterrier
Dante’s plot will scatter Dom’s family from Los Angeles to the catacombs of Rome, from Brazil to London and from Portugal to Antarctica. New allies will be forged and old enemies will resurface. But everything changes when Dom discovers that his own 8-year-old son (Leo Abelo Perry, Black-ish) is the ultimate target of Dante’s vengeance.
Directed by Louis Leterrier (Clash of the Titans, The Incredible Hulk), Fast X stars returning cast members Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Jordana Brewster, Sung Kang, Jason Statham, John Cena and Scott Eastwood, with Oscar® winner Helen Mirren and Oscar® winner Charlize Theron.
The film also features an extraordinary new cast including Oscar® winner Brie Larson as Tess, a rogue representative from the Agency; Alan Richtson (Reacher) as Aimes, the new head of the Agency who doesn’t hold the same fondness for Dom’s crew as his predecessor, Mr. Nobody; Daniela Melchior (The Suicide Squad) as a Brazilian street racer with a powerful tie to Dom’s past; and legendary Oscar® winner Rita Moreno as Dom and Mia’s Abuelita Toretto.
Fast X is produced by Neal H. Moritz, Vin Diesel, Justin Lin, Jeff Kirschenbaum and Samantha Vincent. The executive producers are Joseph M. Caracciolo, Jr., David Cain, Chris Morgan, Amanda Lewis and Mark Bomback.
So, even though it’s the season of the big somber serious “award-bait” films, who’s ready for a journey back to “a galaxy far, far away”? Whoa, shut down the “hyper-drive”, I’m not talking about that one, y’know the one we all first visited back in 1977. Although we’ve been, cinematically, in this particular “star system” before. First at the movies in 1984, then on basic cable TV in 2000. It’s based on a book series with a huge fan base, although neither version pleased them (as for the 84 “take”, if you catch it on TV, the director credit is for “Alan Smithee” as the acclaimed filmmaker doesn’t want his real name on it), nor did it attract a throng of new admirers. Perhaps film tech needed to catch up to the tale’s unique requirements. Or maybe it just needs the correct director and cast. Now we can see if all three are needed for the proper screen treatment of Frank Herbert’s DUNE.
As the new film opens, we’re transported to the ocean planet of Caladan, which is ruled by the Atreides family. The young “prince” Paul (Timothee Chalamet) is in the grip of another weird desert-based dream (or nightmare). He’s finally awakened by his mother, Lady Jessica (Rebecca Ferguson) who insists that he join her for breakfast before the day’s big ceremony. We soon learn that she is training Paul to harness the mystical “persuasion” powers he has inherited from her. After donning their formal attire, they join father Duke Letto (Oscar Isaac) and his aide Gurney (Josh Brolin). Emissaries from the ruling House Harkonnen (under the order of the Emperor) instruct Leto and his family (and military forces) to relocate to the harsh desert planet of Arrakis to supervise the harvesting of melange, AKA “spice” which possesses many amazing properties (it’s essential to space travel). Prior to the move Gurney tutors paul in combat fighting, while “ace’ fighter pilot Duncan (Jason Momoa) regales Paul with stories of his time on his future home. Later Paul undergoes a test of “pain” conducted by Jessica’s trainer, the Reverend Mother Mohiam (Charlotte Rampling). On Arrakis, the Atreides entourage is greeted by the officials, though much of the populace, including the fierce rebel fighters known as Fremen, plot to overthrow their new otherworldly overlords. But while the Atreides try to deal with the deadly gigantic sandworms that wreck the spice mining compounds, the Harkonnen, led by the cruel Baron Vladimir (Stellan Skarsgard), are plotting a surprise attack. Can Paul and his family survive all the deadly threats on their new home world?
A truly stellar cast has been brought together on this, helping to breathe life into the now 56-year-old SF classic. Hey six of them are from the MCU, and another actor swam in from the Justice League. The focus of it all is Chalamet as Paul, who, as in many adventure fables, is the youngster at the start of a “hero’s quest”. Like most teens, Paul has an obstinate streak, but he’s got an enthusiastic spirit, always seeking wisdom, even as dark forces surround him. Chalamet brings a real intensity to Paul, compelling us to be in his “rooting section”. Luckily he’s got the talented Ferguson as Lady Jessica in his corner. She challenges Paul, exhorting him to sharpen his “special skills” while trying to protect him from those said forces. Much of the same can be said of Isaac as Leto who never denies his son of his wisdom or affection, all while balancing the demands of his title. Part of Paul’s extended family is Brolin as Gurney, who puts up a tough front, although he too hopes to keep his surrogate nephew out of harm’s path. Ditto for his “almost” big brother Duncan who’s given a gregarious and snarky edge by Momoa. Lurking in the shadows, Skarsgard makes Baron a stuffed flesh pad of pure malevolence, issuing orders in a guttural growl to the hulking Beast Rabban (Dave Bautista) and craven co-conspirator (think Peter Lorre in MAD LOVE) Piter (David Dastmalchian). They’re almost as scary as Rampling who’s pure intimidation as the Reverend. On Arrakis, Javier Bader is a most charismatic and funny Fremaon rebel leader named Stilgar, while Zendaya is the desert goddess of Paul’s dreams, Chani, in a brief role (guessing we’ll see a lot more of her in follow-ups).
This is the passion project of director Denis Villeneuve, one of the more interesting visual filmmakers of recent memory (ARRIVAL, BLADE RUNNER 2049), who worked on the screenplay adaptation with Jon Spaihts and Eric Roth. And, as Denis has said in countless interviews, the scope is big, full of endless vistas best viewed on the biggest screen possible (yes, you can stream it on your HDTV, but you won’t be truly “immersed”). It could be called a cosmic LAWRENCE OF ARABIA, especially since most of the action takes place in the sands of Arrakis, where those fearsome worms seem to be more than a mile long (the use of vibrations to attract and distract them is quite engaging). The artists and craftspeople have fashioned a world similar to ours, but with fantastic flourishes. The air transports recall helicopters, though they lift via fluttering side wings like a dragonfly or hummingbird. A wrist device creates a protective blue-tinded force field around its wearer until a weak area gives off a red-tinted warning. Thousands of soldiers march in unison, sporting shell-like battles armor, while others travel the hot sands clad in “moisture suits” that cool with re-circulated sweat. But Villeneuve doesn’t neglect the human drama and family dynamics in favor of these great gizmos and “eye candy”.Unfortunately, the source material was so dense that the film ends abruptly (even at 155 minutes) leaving us wanting (much like the Hobbit trilogy or, THE EMPIRE STRIKES BACK, one of the book’s “spiritual children”). Perhaps it’s best to leave us yearning for more as the booming Hans Zimmer score booms over the speakers, which also sounds great with the sweeping cinematography of Greg Fraser. Yes, this is the superior film treatment, though we’re left feeling that there’s much more to be gleaned from the world of DUNE.
3 Out of 4
DUNE opens in select theatres everywhere and begins streaming for 30 days on HBO Max beginning on Friday, October 22, 2021.
Oscar nominee Denis Villeneuve (“Arrival,” “Blade Runner 2049”) directs Warner Bros. Pictures and Legendary Pictures’ “Dune,” the big-screen adaptation of Frank Herbert’s seminal bestseller of the same name.
A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive.
The film is slated to be released in select theaters in 2D and 3D and IMAX and on HBO Max on October 22, 2021 and will be available on HBO Max’s Ad-Free plan in 4K UHD, HDR10, Dolby Vision and Dolby Atmos (English Only) on supported devices for 31 days from theatrical release.
Check out the brand-new trailer.
DUNE will have its world premiere at the Venice Film Festival out-of-competition on September 3 and will screen as a World Exclusive IMAX Special Event at the 2021 Toronto International Film Festival.
The film stars Oscar nominee Timothée Chalamet (“Call Me by Your Name,” “Little Women”), Rebecca Ferguson (“Stephen King’s Doctor Sleep,” “Mission: Impossible – Fallout”), Oscar Isaac (the “Star Wars” franchise) Oscar nominee Josh Brolin (“Milk,” “Avengers: Infinity War”), Stellan Skarsgård (HBO’s “Chernobyl,” “Avengers: Age of Ultron”), Dave Bautista (the “Guardians of the Galaxy” films, “Avengers: Endgame”), Stephen McKinley Henderson (“Fences,” “Lady Bird”), Zendaya (“Spider-Man: Homecoming,” HBO’s “Euphoria”), Chang Chen (“Mr. Long,” “Crouching Tiger, Hidden Dragon”), David Dastmalchian (“Blade Runner 2049,” “The Dark Knight”), Sharon Duncan-Brewster (“Rogue One: A Star Wars Story,” Netflix’s “Sex Education”), with Oscar nominee Charlotte Rampling (“45 Years,” “Assassin’s Creed”), with Jason Momoa (“Aquaman,” HBO’s “Game of Thrones”), and Oscar winner Javier Bardem (“No Country for Old Men,” “Skyfall”).
Villeneuve directed “Dune” from a screenplay he co-wrote with Jon Spaihts and Eric Roth based on the novel of the same name written by Frank Herbert. Villeneuve also produced the film with Mary Parent, Cale Boyter and Joe Caracciolo, Jr. The executive producers are Tanya Lapointe, Joshua Grode, Herbert W. Gains, Jon Spaihts, Thomas Tull, Brian Herbert, Byron Merritt and Kim Herbert.
Behind the scenes, Villeneuve reteamed with two-time Oscar-nominated production designer Patrice Vermette (“Arrival,” “Sicario,” “The Young Victoria”), two-time Oscar-nominated editor Joe Walker (“Blade Runner 2049,” “Arrival,” “12 Years a Slave”), two-time Oscar-winning visual effects supervisor Paul Lambert (“First Man,” “Blade Runner 2049”), and Oscar-winning special effects supervisor Gerd Nefzer (“Blade Runner 2049”). He also collaborated for the first time with Oscar-nominated director of photography Greig Fraser (“Lion,” “Zero Dark Thirty,” “Rogue One: A Star Wars Story”); three-time Oscar-nominated costume designer Jacqueline West (“The Revenant,” “The Curious Case of Benjamin Button,” “Quills”) and co-costume designer Bob Morgan; and stunt coordinator Tom Struthers (“The Dark Knight” trilogy, “Inception”).
Oscar-winning and multiple Oscar-nominated composer Hans Zimmer (“Blade Runner 2049,” “Inception,” “Gladiator,” “The Lion King”) is creating the score.
Warner Bros. Pictures and Legendary Pictures Present a Legendary Pictures Production, a Film by Denis Villeneuve, “Dune.”
The film has been rated PG-13 for sequences of strong violence, some disturbing images and suggestive material.
ZACK SNYDER’S JUSTICE LEAGUE is finally being released and is one of the rare projects that can be said to live up to the hype. This is more than just a “few added scenes.” With a run time of just over four hours, it presents the most complete saga than could have been done in a 2 hour theatrical release, and it is the true vision of Zack Snyder’s, not the watered-down joke fest that we were fed after the Snyders left the project. To be perfectly clear, Joss Whedon’s version of the JUSTICE LEAGUE was not terrible, but it was very obvious that the original movie release was tonally bipolar, at times light hearted, at times darker and far more serious. Thanks to the fans (nay, MEGA fans) that put in the time, promotion, and had the tenacity to keep pushing for Snyder’s version, we got a more refined, purer film, tonally consistent, with questions answered, and no silly asides.
Told in six parts, with an extended epilogue, the movie is just, well…great. Darkseid is the big bad in this movie, and Steppenwolf is shown to be more of a simpering neophyte than a star faring conqueror, and it is explained why there was never another return after that humiliating defeat that was suffered in the original assault on Earth.
Bruce Wayne/Batman (played by Ben Affleck, bringing every bit of his talent to this version, making you really believe he would spend all of his time and no small amount of his resources to put this team together) questing to find others that have abilities is still the quest in the film, but in each character we get a lot more backstory. We get their lives showcased, and their motivations explained, making their reasons for resisting this effort more clear, and their reasons for joining more logical. Jeremy Irons as Alfred has about the same amount of screen time, but he seems even more like an advisor and partner than he did previously. We see Cyborg as not just some angry, brooding robot-man who didn’t seem to bring anything else to the team originally, but as the key to stopping Steppenwolf from opening the door for an alien invasion that would have been unstoppable, even by the League. Flash can be seen more as a man who does what needs to be done, not as a cowardly lion. His abilities are shown as being more than just a “guy who runs fast”. Much, much more. Wonder Woman’s opening and introduction in this movie also makes more sense, giving context to the event, and showing that she has at least one ability that had not previously been seen.
We get a host of other characters that will feed fans hunger for more, but also leave you wishing that this movie wasn’t a one and done, but just the beginning that it was originally planned to be. The Martian Manhunter, who by now everyone who has had an even passing interest in the film has known about, is truly the Manhunter any fanboy/fangirl would have wanted… there just wasn’t enough of him, and you understand why in the end.
The epilogue is not your standard post-credits teaser, since you know that there will be no further offering in this world. Deathstroke’s original appearance has more mileage, and Jared Leto’s Joker is more Jokery than before. You get the feeling that whatever reason Batman has for including him, it must be pretty important, because just watching this, you find yourself wondering why nobody has killed him yet, while wishing you could get a Deathstroke movie. Some of the points shown in the dream/nightmare sequence raise questions, but you’re left with the feeling that this was the point; Not just to feed your hunger, but to tease your appetite.
The time taken to flesh each of these characters out is well spent, and the side characters are seen as what they truly are, which is the motivation and saving grace of some otherwise truly broken or incomplete individuals. Except Superman, of course, because he has a completely different set of issues to deal with, not the least of which is shaking off his resurrection.
All of this is done with respect to the original material. Darkseid is the original dark god, with no purer motivations than complete domination of the multiverse, breaking the free will of all living things so that their only need in existence is to serve him and live and die at his whim. No redeeming qualities at all, and an army built larger with each of his previous conquests in to possibly billions of Parademons, and his lieutenants (DeSaad, Granny Goodness, and the aforementioned Steppenwolf) who live only to serve and put Darkseid’s plans into motion.
Snyder gives us the film we always wanted from him in the DCEU. This is said out of respect, not as a fan. There are to be no follow up, no sequels, so what you get here is all that you’re going to get. Even Snyder has said that this is it.
Aquaman will get another film, as will the Flash, but there will be no more of Cavill’s Superman, or Affleck’s Batman, Gadot may or may not get a third movie after the poor offering of WONDER WOMAN 1984, and Fisher’s Cyborg solo movie was cancelled a while back, which is a shame, since he took a character that should have remained in a supporting role, and made it in to one that you really wind up caring about, and who delivers despite the tragedy that he faced in the film. DC/Warner Brothers should probably reconsider, but probably won’t.
The film is long, but never feels long. After two viewings already, it still feels like more could be enjoyed by possibly a third or fourth watch. Yes, it’s that good.
The score from Tom Holkenborg, aka Junkie XL, brings the film and earth’s defenders to new heights and the cues are soaring.
Get your popcorn, soda, and comfy chair, and if you love DC Superheroes and the Justice League, ZACK SNYDER’S JUSTICE LEAGUE is your film.
4 out of 4 Stars
The feature film debuts this Thursday, March 18 on HBO Max.
In ZACK SNYDER’S JUSTICE LEAGUE, determined to ensure Superman’s (Henry Cavill) ultimate sacrifice was not in vain, Bruce Wayne (Ben Affleck) aligns forces with Diana Prince (Gal Gadot) with plans to recruit a team of metahumans to protect the world from an approaching threat of catastrophic proportions. The task proves more difficult than Bruce imagined, as each of the recruits must face the demons of their own pasts to transcend that which has held them back, allowing them to come together, finally forming an unprecedented league of heroes. Now united, Batman (Affleck), Wonder Woman (Gadot), Aquaman (Jason Momoa), Cyborg (Ray Fisher) and The Flash (Ezra Miller) may be too late to save the planet from Steppenwolf, DeSaad and Darkseid and their dreadful intentions.
Watch the brand new trailer now.
With the release of the trailer today, viewers were shocked to hear an original conversation with Batman, when Joker says, ‘We live in a society where honor is a distant memory.’ It had social media and the internet buzzing on Sunday.
Stream ZACK SNYDER’S JUSTICE LEAGUE on HBO Max in 4K UHD, HDR10, Dolby Vision, Dolby Atmos on supported devices.
Enter the world of ZACK SNYDER’S JUSTICE LEAGUE and stay up to date with the latest news, trailers, activities and more on the dedicated microsite here! As our heroes, now united, prepare to protect the world from Steppenwolf, DeSaad and Darkseid’s dreadful intentions, we’ll have everything you need to get ready for the March 18th premiere on HBO Max.
The ZACK SNYDER’S JUSTICE LEAGUE screenplay is by Chris Terrio, story by Chris Terrio & Zack Snyder and Will Beall, based on characters from DC, Superman created by Jerry Siegel and Joe Shuster. The film’s producers are Charles Roven, Deborah Snyder, with executive producers Christopher Nolan, Emma Thomas, Wesley Coller, Jim Rowe, Curtis Kanemoto, Chris Terrio and Ben Affleck.
