Ray Fisher will join Henry Cavill, Ben Affleck, Gal Gadot and others when Snyder gets cameras rolling in October.
After Jason Momoa said he was backing Ray Fisher in the growing controversy over the alleged behaviour of Joss Whedon on the Justice League reshoots, the actor has doubled down.
Jason Momoa, aka Aquaman, has backed his Justice League co-star Ray Fisher in the row with Warner Bros over misconduct on the movie's set from director Joss Whedon.
“Justice League” actor Ray Fisher disputed a claim by Warner Bros. that he has refused to cooperate with the investigation.
A Joker playing card can be seen near the start of the new trailer for Zack Snyder's "Justice League."
WarnerMedia is reportedly looking into Ray Fisher's claims of abuse and misconduct during Joss Whedon's reshoots for 'Justice League'.
Ray Fisher, who played Cyborg in the 2017 DC movie, has invited Joss Whedon to 'sue me for libel' over allegations the director behaved abusively on set.
In a live panel for the independent "Justice League" fan convention JusticeCon on Saturday, actor Ray Fisher claimed that he is undergoing "a process" to get to "the heart" of his earlier allegations that director Joss Whedon engaged in "abusive, unprofessional" behavior on the set of the 2017 DC Comics adaptation. Fisher was asked to […]
Unlike many directors, who have spent lockdown twiddling their thumbs as productions shut down, Zack Snyder has spent his re-cutting a major blockbuster.
Actor Ray Fisher, who played the young superhero Cyborg in the DC Comics film, has criticised the director.
Ray Fisher, who played Cyborg in the Justice League movie, has 'forcefully retracted' his praise for director Joss Whedon.
Though the future of Henry Cavill's Superman appears to be uncertain, the British actor is prepped to play the Man of Steel again, he's said.
In what is probably the biggest development for the DC Extended Universe (aka the DC Comics movieverse), Michael Keaton is in talks to return the role for which he was best known: Batman. It’s a surprising development for a universe of films that already has two Batmans. But the way that Warner Bros is bringing him back could provide the studio with a way to sort of reboot this franchise, which has been without any sort of narrative center since 2017’s “Justice League.”Keaton will make his return as Bruce Wayne in the long-delayed “The Flash” movie, which makes so much sense. You may recall that at San Diego Comic-Con in 2017, Warner Bros announced that the Flash film would be called “Flashpoint.” The planned film no longer has that title, but will still be based in part on the “Flashpoint” comic.Back in 2017, as rumors mounted that the DC films would be moving away from Ben Affleck’s version of the Caped Crusader, we wrote that a “Flashpoint” movie, which would involve time travel and alternate universes, would allow them to recast the character without starting over from scratch on this whole film universe. And that’s still true!Also Read: Warner Bros Announces DC Fandome, Virtual Comic-Con Alternative Launching in AugustBut clearly we didn’t think big enough back then. Bringing back Keaton this way could allow Warner Bros to turn the frustrations with the state of the DCEU into a long-term win. And they could even use this to bring the Snyder Cut of “Justice League” into the DCEU canon.So how would this work? Well, let’s talk about the “Flashpoint” comic for a second. That story saw the Flash himself, Barry Allen, attempt to use time travel to save his mother — who died when Barry was young. The Flash can time travel thanks to his incredible speed and the “Speed Force,” which is what gives Barry his powers.But when Barry makes his journey to the past, he screws it up. His actions change the past and spawn an alternate universe. It’s kinda like when Biff from “Back to the Future” went back to 1955 and gave himself the sports almanac. And in this version of the world, Bruce Wayne is dead and the Batman is actually Thomas Wayne, Bruce’s father.From there it all gets pretty complicated, but the the Flash teams up with other heroes to try to fix the timeline and the end result was sort of a reboot of the DC Comics universe with what was called the “New 52.” You can read more about it here.Also Read: Every DC Comics Movie Ranked From Worst to Best, Including 'Birds of Prey' and 'Joker'This was not the first time DC dealt with the multiverse. In fact, the comics giant had been doing multiverse stuff for decades by then. DC’s multiverse grew from a need to fix major narrative problems the company’s writers were experiencing by the early 1960s.The first was the vast discrepancies in the history of characters like Superman, Batman and Wonder Woman. Created in 1938. ’39 and ’41 respectively, their comics were consistently in print, but they had frequently been reinterpreted to fit constantly changing attitudes about comics. The most notable example was Batman, whose comic was originally influenced by noir, but by the late 50s was extremely campy.The second problem was that several characters also created during the first superhero comics boom of the World War II era were canceled after superhero comics largely fell out of popularity in the late 40s, most notably the original versions of The Flash and Green Lantern. In the late 50s, both were reimagined as entirely new characters who, just like their predecessors, knew and fought alongside Superman, Wonder Woman and Batman. Confusing things further, in the new Flash’s case he was inspired by his childhood hero, the original Flash, who was established as a fictional comic book character in his world.A 1961 issue of “The Flash,” called “Flash of Two Worlds” fixed this problem. The new Flash, Barry Allen, accidentally travels to another universe’s Earth where he meets the original Flash, Jay Garrick. Barry learns that this world, which he calls “Earth 2,” is where the World War II incarnations of all DC characters had actually lived. Earth 1 meanwhile was the home of the then-current versions of DC’s characters.Also Read: 'Batman,' 'Wonder Woman,' 'Justice League' to Leave HBO Max in JulyBy the 1980s however, the sheer number of changes DC characters continued to go through — see Batman in 1962 vs Batman in 1979 –expanded the multiverse to the point it was no longer easy to keep up with various continuity snarls. DC fixed that problem with a massive crossover event, 1985’s Crisis on Infinite Earths,” which merged everything into a single universe and started over, notably rebooting “Superman” with a new origin story and resetting his comic to issue 1.It’s not difficult to imagine that DC would try to do something similar now with its film universe. While having a multiverse in a huge superhero franchise might have seemed crazy a few years ago, Marvel introduced the multiverse concept in its films with “Avengers: Endgame.” Considering how much money that movie made, it looks like audiences can handle it. And for DC, there are endless possibilities with the multiverse.For one thing, it’s a way for Warner Bros to keep all the parts of the DCEU that people like (like “Wonder Woman” and “Aquaman”) while also rebooting the parts of it that haven’t panned out. Basically, they can reboot things without actually tearing down the franchise and starting over. On top of that, all the DC movies that aren’t part of the DCEU could retroactively be added to it. Think about it: if Keaton’s Batman in in the DCEU, then that would in turn put both of Tim Burton’s “Batman” movies in the DCEU as well.And the Snyder Cut! These multiverse shenanigans could make it so that both Joss Whedon’s and Zack Snyder’s versions of “Justice League” are a part of the DCEU canon. Without the multiverse, that would absolutely not be possible because the two versions contradict each other.Likewise, they could bring Joaquin Phoenix’s Joker into the DCEU, or Ryan Reynolds’s Green Lantern, or Halle Berry’s Catwoman. Or, while we’re dreaming, Christian Bale’s Batman.And it’s certainly possible that the DCEU could start to cross over with DC’s television shows. There’s actually already been a little bit of this already with the CW’s version of the “Crisis on Infinite Earths,” which not only briefly brought Ezra Miller’s Flash together with Grant Gustin’s version of the character, but also brought back Brandon Routh’s version of Superman.And yeah, the logistics of all this might be complicated. That’s why we don’t really wanna get to deep into how they could bring the “Justice League” Snyder Cut into the canon. We could spend all day formulating theories, but we’d probably be wrong about how it will work. This is one of those things we’re just going to have to watch over time to see how it plays out.Regardless, the possibilities are inarguably endless, but we should be clear that we can’t know yet how far Warner Bros and DC will take this. For now, we just know that Michael Keaton’s Batman will cross over from his standalone movies into this shared universe. What they choose to do after that remains to be seen.Maybe they’ll explore the multiverse further, and maybe it’ll be a one-time thing. Right now, it could very well be that nobody knows for sure what will come next.Read original story What Michael Keaton’s Return As Batman Could Mean for the DCEU and the Snyder Cut At TheWrap
Warner Bros. has announced a free, 24-hour fan event online to celebrate the world of DC Comics on screen.
HBO Max chief Tony Goncalves says Warner Bros’ decision to release the Snyder Cut of Justice League does not set a precedent.
Wonder Woman 1984 director Patty Jenkins turned down the chance to direct Justice League because there were too many characters.
Darkseid is one of the most famous villains in the DC Comics universe and could play a pivotal role in the Snyder Cut.
HBO Max, WarnerMedia’s long-awaited streaming service, launches Wednesday with hundreds of titles, including beloved TV series, blockbuster film franchises and some originals created specifically for the new platform.And while we’re willing to bet you’ve heard classics like “Friends” and “The Big Bang Theory” are among the offerings that will be available at launch, we’re also pretty sure you don’t know how many other shows and movies you’ll have access to on Day 1.And, as a bonus surprise, HBO announced all eight “Harry Potter” films as well as “Fantastic Beasts: The Crimes of Grindelwald” will be available on launch day.Well, don’t worry, because TheWrap has rounded up a list of the biggest films and TV series will be streaming on HBO Max at launch so that you can decide if it’s worth the $14.99/month price tag, which is bumped down to an $11.99 introductory rate for the first year.Also Read: Here's How You Can Get HBO Max if You Already Pay for HBOOh, unless you’re already an HBO or HBO Now subscribers, in which case you’ll (most likely) get a free HBO Max account.Readers can find our list of highlights from HBO Max’s Day 1 lineup (not its *entire* library) below, which includes new original series along with library titles from HBO, New Line Cinema, DC, CNN, TNT, TBS, truTV, Cartoon Network, Adult Swim, Crunchyroll, Rooster Teeth, Looney Tunes, classic films curated in partnership with TCM, and a selection of third-party acquired shows and movies.Note that more titles will become available in the coming months, including additional original series, as well as library content like “South Park,” “Gossip Girl” and “The West Wing.”Also Read: Here's What's Coming to HBO Max This SummerTV SERIES Friends The Big Bang Theory Doctor Who (modern series) Rick and Morty The Boondocks The Bachelor Sesame Street The Fresh Prince of Bel-Air Batwoman Nancy Drew Katy Keene DC’s Doom Patrol (Season 1) The O.C. Pretty Little Liars Anthony Bourdain: Parts Unknown Westworld Big Little Lies Game of Thrones Sex and the City Veep The Wire Curb Your Enthusiasm Insecure Succession Watchmen Barry Euphoria The Jinx The Sopranos The Alienist Impractical Jokers (Seasons 1-4) Robot Chicken Trigonometry Ghosts Home Stath Lets Flats Torchwood Luther The Honorable Woman The Office (U.K. version) Top Gear (Seasons 17-25) Independent Lipstick Empire Happily Ever AvatarAlso Read: 'Justice League': The 'Snyder Cut' Will Be Released Next Year on HBO MaxMOVIES A Nightmare on Elm Street films A Star is Born (2018) A Walk to Remember Alien (Director’s Cut) Alien 3 Alien Resurrection Aliens American Pie Analyze This Annie Hall Apocalypse Now Aquaman Aquamarine Armageddon Art of Racing in the Rain Babe Batman & Robin Batman Beyond: The Return of the Joker Batman Forever Batman v Superman: Dawn of Justice Batman vs. Robin Batman: Gotham Knight Batman: Mask of the Phantasm Batman: The Dark Knight Returns Part 1 Batman: The Dark Knight Returns Part 2 Big Top Pee Wee Boys Don’t Cry Braveheart Bridesmaids Broken Arrow Casino Royale Cast Away Closer Cold Mountain Crazy Rich Asians Crazy, Stupid, Love Critters D2: The Mighty Ducks D3: The Mighty Ducks Darjeeling Limited Deep Blue Sea Dick Tracy Die Hard films Downtown Abbey Dr. Strangelove Drop Dead Fred Empire of the Sun Fast Five Fantastic Beasts: The Crimes of Grindelwald Fight Club Freddy’s Dead: The Final Nightmare Friday the 13th Gangs of New York Gia Glengarry Glen Ross Good Will Hunting Great Expectations Green Lantern Gremlins Gremlins 2 Grosse Pointe Blank Hackers Hairspray Hairspray (musical remake) Half Nelson Happy Death Day Harold & Kumar go to White Castle Harry Potter and the Sorceror’s Stone Harry Potter and the Chamber of Secrets Harry Potter and the Prisoner of Azkaban Harry Potter and the Goblet of Fire Harry Potter and the Order of the Phoenix Harry Potter and the Half-Blood Prince Harry Potter and the Deathly Hallows – Part I Harry Potter and the Deathly Hallows – Part II Hedwig and the Angry Inch Hellboy Her Smell Hobbs & Shaw Home Alone 2: Lost in New York Hope Floats How to Lose a Guy in 10 Days Isn’t it Romantic Jaws films John Tucker Must Die John Wick 3 Joker Josie and the Pussycats Justice League La La Land Little Shop of Horrors Lord of the Rings films Love Actually Mamma Mia! Here We Go Again Moulin Rouge! Mr & Mrs Smith Mrs. Doubtfire Muriel’s Wedding My Big Fat Greek Wedding Nocturnal Animals Notting Hill One Fine Day Out of Africa Pearl Harbor Pet Sematary (1989) Piranha Policy Academy films Practical Magic Pretty in Pink Prisoners Punch-Drunk Love Quantam of Solace Raising Arizona Ready or Not Requiem for a Dream Save the Last Dance Scary Movie 3 Scooby-Doo Selena Set it Off Shazam! Shutter Island Sisterhood of the Traveling Pants (1 & 2) Slumdog Millionaire Snakes on a Plane Sucker Punch Suicide Squad Supergirl Swingers Teen Witch That Thing You Do! The Devil’s Advocate The Family Stone The Hobbit The Hot Chick The Kids Are All Right The Land Before Time The Lego Batman Movie The Lego Movie The Meg The Mighty Ducks The Others The Outsiders The Shining The Skulls The Thomas Crown Affair The Witches of Eastwick Three Kings Transformers: Revenge of the Fallen Tropic Thunder Twins Two Weeks Notice Unbreakable Unfriended Wes Craven’s New Nightmare What About Bob? What Women Want Wonder Woman (2017) Xanadu XMen: Dark Phoenix Yesterday 2001: A Spacey Odyssey 42nd Street A Hard Day’s Night A Star is Born (1954, 1976) A Streetcar Named Desire An American in Paris Annie Hall Babette’s Feast Belle De Jour Ben-Hur Bonnie and Clyde Casablanca Citizen Kane Cool Hand Luke Diabolique East of Eden Giant Gone with the Wind How the West Was Won King Kong Klute Lolita Network North by Northwest Point Blank Pride and Prejudice Rebel Without a Cause Singin in the Rain The Maltese Falcon The Philadelphia Story The Postman Always Rings Twice The Searchers The Singing Nun The Wild Bunch The Wizard of Oz WoodstockAnd here are the HBO Max originals that will be available on Day 1, with descriptions in the streaming service’s own words:CRAFTOPIA “Craftopia” is an epic kids crafting competition show hosted and executive produced by YouTube influencer Lauren Riihimaki aka (“LaurDIY”). Creating and demonstrating crafts to over 8.9 million subscribers on her YouTube channel, LaurDIY has been deemed the “millennial Martha Stewart” by Forbes. On “Craftopia,” 9 to 15-year old contestants put their imaginations to the test and make their crafting dreams come true in a magical studio. After racing to fill up their carts with inspiring materials from the studio “store,” crafters meet larger-than-life challenges, making truly inventive and amazing creations in order to take home the ‘Craftrophia.’“Craftopia” is executive produced by Rhett Bachner and Brien Meagher for B17 Entertainment.LEGENDARY Pulling directly from the underground ballroom community, voguing teams (aka “houses”) must compete in unbelievable balls and showcase sickening fashion in order to achieve “legendary” status. The cast includes MC Dashaun Wesley and DJ MikeQ as well as celebrity judges Law Roach, Jameela Jamil, Leiomy Maldonado, and Megan Thee Stallion. From Scout Productions, Emmy Award winners David Collins (“Queer Eye”), Rob Eric (“Queer Eye”) and Michael Williams (“Queer Eye”) serve as executive producers. Jane Mun (People’s Choice Awards, MTV Music Awards, “America’s Best Dance Crew”) and Josh Greenberg (“Lip Sync Battle,” “Sunday Best,” “America’s Best Dance Crew”) serve as executive producers and showrunners.LOVE LIFE “Love Life,” the first full-length scripted series to star Oscar nominee Anna Kendrick, is about the journey from first love to last love, and how the people we’re with along the way make us into who we are when we finally end up with someone forever. This fresh take on a romantic comedy anthology series is from creator and co-showrunner Sam Boyd (“In a Relationship”) and is produced by Lionsgate Television and Feigco Entertainment. The series will follow a different protagonist’s quest for love each season, with each half-hour episode telling the story of one of their relationships. Anna Kendrick (“Pitch Perfect,” “A Simple Favor”) stars in the first season along with Zoë Chao (“Downhill,” “Strangers”), Peter Vack (“Someone Great,” “The Bold Type”), Sasha Compere (“Miracle Workers,” “Uncorked”), and Lesley Manville (“Phantom Thread,” “Another Year”).Kendrick serves as an executive producer alongside Paul Feig (“A Simple Favor,” “Bridesmaids”) and Dan Magnante (“Someone Great”). Sam Boyd, who wrote the pilot and directs, also executive produces with co-showrunner and executive producer Bridget Bedard (“Transparent” and “Ramy”).LOONEY TUNES CARTOONS “Looney Tunes Cartoons,” an all-new series from Warner Bros. Animation starring the cherished “Looney Tunes” characters. “Looney Tunes Cartoons” echoes the high production value and process of the original “Looney Tunes” theatrical shorts with a cartoonist-driven approach to storytelling. Marquee “Looney Tunes” characters will be featured in their classic pairings in simple, gag-driven and visually vibrant stories. The new series will include 80 eleven-minute episodes, each comprised of animated shorts that vary in length and include adapted storylines for today’s audience. Fans can also look forward to holiday-themed specials.“Looney Tunes Cartoons” is produced by Warner Bros. Animation and features a talented group of voice cast members including Eric Bauza, Jeff Bergman and Bob Bergen. Pete Browngardt (“Uncle Grandpa”) and Sam Register (“Teen Titans Go!”) serve as executive producers.THE NOT TOO LATE SHOW WITH ELMO Elmo is the host of his very own talk show and he’s going to bring you some (not-too-late) fun with an all-new, celeb-studded talk show series. This brand-new “primetime” series brings familiar “Sesame Street” friends like Elmo, Cookie Monster, celebrity guests, and laughs the whole family can enjoy! Elmo will interview guests such as fellow late-night hosts Jimmy Fallon and John Oliver, comedian John Mullaney, New York Times best-selling author Kwame Alexander, actress Blake Lively, and award-winning musical acts Lil Nas X and The Jonas Brothers.“The Not Too Late Show with Elmo” is produced by Sesame Workshop.ON THE RECORD Directed and produced by Kirby Dick and Amy Ziering (“The Hunting Ground,” “The Invisible War”), and first reported by the New York Times, “On The Record” presents the powerful haunting story of music executive Drew Dixon (collaborator on hit records by Method Man and Mary J. Blige, Estelle and Kanye West, and Whitney Houston) as she grapples with her decision to become one of the first women of color, in the wake of MeToo, to come forward and publicly accuse hip-hop mogul Russell Simmons of sexual assault.The documentary, which premiered at the 2020 Sundance Film Festival to rave reviews, chronicles not only Dixon’s story but that of several other accusers – Sil Lai Abrams, Sheri Sher- delving deeply into the ways women of colors’ voices are all too often silenced and ignored when they allege sexual assault; as well as the cultural forces that pressure them to remain silent.“On The Record” is produced by Dick and Ziering’s Jane Doe Films with Dan Cogan, Geralyn Dreyfous and Jenny Raskin for Impact Partners, Regina K Scully for Artemis Rising, Ian Darling for Shark Island Institute and Abigail Disney for Level Forward serving as executive producers. The creative team includes producers Jamie Rogers and Amy Herdy.Read original story Here Are the TV Shows and Movies That Will Be Available on HBO Max at Launch At TheWrap
“Justice League,” while certainly never approaching the creative nadir that was the DC movie “Suicide Squad,” is really just not a good movie. It’s silly-but-not-in-a-good-way, it’s nonsensical, it’s sort of inexplicably chaotic. It’s exciting, then, that we’ll eventually be able to compare Joss Whedon’s “Justice League” to the Snyder Cut next year and maybe get a better understanding of what went on here. But while we wait for that day, let’s reflect on the pure madness of the theatrical version.The Atlantis fightJames Wan, who is one of the best filmmakers working today, absolutely knocked all that underwater stuff out of the park in his standalone “Aquaman.” But the Atlantis fight in “Justice League,” on the other hand, was an absolute trash fire that looked just incredibly awful. Whatever Warner Bros. spent on this sequence, it was too much. Woof.Steppenwolf repeatedly talking to “mother”“Justice League” does a pretty poor job of explaining Steppenwolf’s powerful artifacts, the Mother Boxes, which fans of the comics know are actually supercomputers with consciousness. It’s even weirder when Steppenwolf occasionally talks out loud to “Mother,” telling her (?) he’ll be feeding her soon and dropping some other weird lines. The movie never explains that the boxes are actually alive and bond with their owners so strongly that they will self-destruct if the person to whom they’re linked are killed. Anyway, presumably he’s talking to the box(es). Maybe “Justice League” is actually about a guy with a computer pet who’s just trying to be a good friend and get it some snacks.Also Read: Every DC Comics Movie Ranked From Worst to Best, Including 'Justice League'“For Darkseid!”Fans who know something about Steppenwolf know that he’s actually a lieutenant of Darkseid, a supervillain arch-nemesis of the Justice League who’s bent on conquering the universe. For everyone else, Steppenwolf is a pretty obscure character, so his single off-handed mention of the fact he’s doing evil stuff “for Darkseid” is easy to miss and fairly confusing — particularly if you don’t know who Darkseid is and thought he said “Dark Side.” One assumes “Justice League” was, at one point, setting up for Darkseid’s eventual arrival. The movie as it exists is not, aside from that single line.Since Darkseid figured majorly into Zack Snyder’s plans for “Justice League” and its sequel that didn’t end up happening, we should at least finally get some context for this line in the Snyder Cut.SupermouthParamount wouldn’t let Henry Cavill shave his “Mission: Impossible – Fallout” mustache during “Justice League” reshoots, so Warner Bros. decided they’d just try to digitally remove it in post-production. And it is absolutely horrifying. It’s worse than CGI Peter Cushing in “Rogue One” — a cartoon-looking mouth on an otherwise human face will always look more upsetting than that entire cartoon-looking face. Our brains just can’t even fathom this thing.If, for whatever reason, you’d like to bask in the horror that is Superman’s CGI mouth, check out our gallery of the most terrifying shots of that cartoon monstrosity.Also Read: The 10 Most Terrifying Shots of Superman's CGI Mouth in 'Justice League' (Photos)That opening Superman sceneThis weird little home video segment of a kid talking to Supes is a double whammy of existential pain. First, you have the whole CGI mouth thing, which is extremely obvious throughout. Then you have Superman refusing to answer the kid’s question about what his favorite thing about living on Earth is. There’s no thematic payoff to the scene later in the movie, and so it plays like the movie is just trying to dunk on itself.Clark and Lois hanging out in a CGI cornfieldIf you’re going to do an extended green screen scene, maybe it’s best not to throw an extremely colorful, eye-catching background behind your characters. Nobody told “Justice League” this, though, and so there’s a touching scene between Lois Lane (Amy Adams) and Superman standing in a cornfield in Kansas that is extremely, obviously not real. The culprit is probably that glaring gorgeous sunset that makes the outline of the characters a little too obvious. The emotional reunion of Lois and Clark gets seriously undercut by the fact that nobody can stop thinking about how they’re standing on a soundstage. Throw in Superman’s gross CGI smile in for good measure and the whole thing turns into a very dry comedy sketch.Also Read: 'Justice League': What The Hell Is the Deal With Steppenwolf's Mother Boxes?Nobody really cared about Superman returning“Justice League” makes a big deal about Superman being dead. It’s such a blow to the world that crime and terrorism are on the rise thanks to the simple lack of hope he embodied. So resurrecting Superman mid-movie seems like it ought to be a pretty big deal, especially as it is witnessed by at least a few civilians and results and in a big public fight with at least one somewhat-publicly known hero. But almost no acknowledgment is made of Superman’s return, and while his effect on the world is part of the movie’s setup, it’s not at all part of the rest of the plot. There’s no celebration, no montage of racists not being racist anymore to call back to the opening credits. He’s just back, and the movie itself seems to care about that about as much as those ancient humans cared about the security of their Mother Box. Plus… Clark Kent was dead too. Is Superman just going to skip the alter-ego thing from now on or what?Using the “we’re gonna do a thing that will bring the bad guy down on us” trope but no one having any clue that they’re doing itWhen the Justice League decides to use a Mother Box to resurrect Superman, it seems pretty obvious that doing so will attract the attention of the villain who has spent the whole movie trying to round up all the Mother Boxes. Well, it’s obvious to us, anyway, because we’ve all seen a hundred movies, TV shows and video games with that specific trope — you know, the “OK, so we have to flip this switch in order to do something important but it’s definitely going to attract the bad guys to us and cause a big fight” trope. It’s not so obvious to the characters in the movie, though, because they never mention the possibility that Steppenwolf will show up and seem weirdly surprised when he pops in to steal the box right under everyone’s noses. I guess they forgot to make this scene make sense when they rejiggered the plot during reshoots.Cyborg is extremely not stealthyCyborg (Ray Fisher) wears a hoodie when he goes out, but it does almost nothing to contain the fact that he has extremely obvious glowing lights in his face and chest. He also makes a lot of very ominous whirring sounds just by being alive. So it was pretty tough to buy that he was stealthily spying on Diana Prince and Bruce Wayne to suss out their deal before joining the nascent “Justice League,” as he was only about 25 feet away and making a lot of loud weird robot sounds. At least Diana said she was fully aware of him watching just one scene later. But still, you’d think his computer brain would have been slightly smarter.Cyborg’s nonsensical origin recapIntroducing Cyborg in a team-up movie was never a great idea, but it takes quite a while for “Justice League” to explain what his deal even is. Injured in an explosion, Vic Stone’s cool superpowers are the result of interference by one of Steppenwolf’s weirdo Mother Boxes. The apparently sentient supercomputer of incredible power actually reshaped state-of-the-art cyborg enhancements his father Silas gave him in order to save his life after an accident. The result is that Cyborg doesn’t even know what his abilities are and, also, that nobody explains who he is or why he’s a spiffy alien robot man until about halfway through the movie. The rest of the time, the audience has to sit there, confused.Cyborg can’t control his defense systemThe good guys resurrect Superman, who immediately gets mad and makes threatening faces and stuff. And in a moment that is completely out of step with the rest of the movie, Cyborg’s cyborg parts start doing their own thing without his input. There had been no hint before then that that could happen, and it doesn’t happen again even though Cyborg doesn’t appear to take any measures to prevent that situation from arising a second time. Nobody even has the, “Yo, man, is this gonna be a problem?” conversation with him.The ancient people who buried a Mother Box in a 3-foot deep hole next to a riverThe first time Steppenwolf tried to take over Earth way back when, he was defeated by an alliance of the Old Gods, the Amazons, the Atlantians and the humans, who took his Mother Boxes entrusted to each of the civilizations to keep them safe. The Atlantians put theirs in the ocean; the Amazonians built a giant stone vault; and the humans dug a 3-foot hole next to a river and tossed their box in it. This is not the best way to hide, like, anything. It’s probably not a coincidence that this Mother Box is the only one that didn’t stay where it was for the next 5,000 years. A dog probably dug it up the next day.The Russian family the movie keeps cutting toSuperhero movies will often throw a few random civilians in harm’s way in order to show the stakes of the situation. “Justice League” spends several scenes hanging around with a random Russian family who lives unfortunately close to Steppenwolf’s apocalyptic base, hoping to set up a last-second rescue much, much later in the movie. In the meantime, though, this family is stuck in their house hiding from monsters for, like, a week. They never get any characterization or do anything and none of the several scenes about them do anything to push the story forward. This is extremely not how to get the audience to care about regular people in the middle of supervillain danger.Superman showing up and being easily capable of winning the fight at any momentThe Justice League’s final fight with Steppenwolf doesn’t exactly go poorly but, as we’ve seen demonstrated multiple times in the movie before, he’s seemingly a match for any of the super-strong members of the team, and maybe even for all of them put together. Enter Superman, who dodges Steppenwolf’s attacks, pummels him about the face, and is generally capable of putting the supervillain down without a lot of help. But that’s not especially dramatic — so Superman bails mid-fight to go save a building full of civilians. Having a guy on the team who can handle basically any problem on his own kind of undercuts the need for a team, and it sure feels like “Justice League” is looking for a way to get Superman out of there as soon as he shows up. Poor planning for your climax, that.Diana doing The Flash thing and then forgetting she can do that for the rest of the movieWonder Woman’s (Gal Gadot) introductory scene in “Justice League” is actually pretty cool. A terrorist group takes over a bank intent on exploding a bomb that will wipe out several city blocks, apparently because they think that will help push society back to the Dark Ages, which is a good thing for some reason. Whatever — Diana beating people up is what matters, and that goes pretty well. Until, that is, terrorist leader Roose Bolton levels a machine gun on the hostages. Rather than take him out, Wonder Woman moves super-fast to block all of the dozens of bullets he fires with her gauntlet (and casually move one guy out of the way). We know Wonder Woman is extremely super, but apparently racing bullets is now in her repertoire. Kind of makes The Flash (Ezra Miller) obsolete. Then again, she doesn’t use this ability for the rest of the film, even when it would have been super useful in the various fights with Steppenwolf.What does that smell like? FearWhile it was a little frustrating that Superman could have obviously ended the battle with Steppenwolf whenever he felt like, it was just plain goofy what finally brought him down in the end. An earlier, easily missed line in “Justice League” pointed out that his henchmen, parademons, feed on or otherwise are attracted to fear. So when Superman et al. started really giving it to Steppenwolf in a way that suggested he might not win, Batman (Ben Affleck) and Aquaman (Jason Momoa) took a second to point out that he was afraid. The exchange itself was weird — Aquaman asking, “What does that smell like?” and Batman responding, “Fear” — but then Steppenwolf was overwhelmed as his own troopers suddenly decided to turn on him. This was a guy that was batting away Amazons like they were actually insects earlier in the movie, mind you, so his ultimate defeat at the hands of his own not-especially smart bugmen felt pretty forced. LOL.Read original story The Worst Parts of ‘Justice League’ Theatrical Cut, From Superman’s CGI Mouth to That Underwater Battle At TheWrap