There are new cameos between Valko (Willem Dafoe), Martian Manhunter (Harry Lenix) and Lex Luthor (Jessie Eisenberg). Some of the lesser visual effects shots in the Whaden version have been redesigned or fine-tuned, and the aspect ratio presented in the film has changed from the traditional wide-screen format to a boxier, i-academy ”ratio. Has been changed to. , Which, Snyder said in an interview last week, has always been wanted “from the beginning”.
Snyder is known for staging popular music scenes, and his cuts are accompanied by new needle drops. A moment in which Aquaman cuts off a bottle of whiskey and dives out of the dock into the sea, strikes a jagged note with a Nick Cave song, where it is formerly the trailer-friendly rock jam “Iki Thump” “Was. Another moment is set on a platonic cover of Tim Buckley’s “Siren Ko Song”.
The four-hour running time of Snyder’s cut is elaborated on a plot that had a cursory and melodic feel in the theatrical version. More context is provided to explain the origins of the Mother Box (particularly the Freudian undertakings with all-powerful tools whose evasion unravels the world and sets this story in motion), as well as Darkseid And his horned minions, Steppenwulf, are also provided to illustrate the inspirations. Whose efforts now have another dimension of centuries-old vengeance. There is also an in-flash flashback revealing former battles between the forces of good and evil, and two extended dream sequences illustrate the fate that can sweep the world that the bad guys must conquer.
The film now has time to tell the character back in detail on the stories that the Whedon cut was forced to faint, if at all. The biggest beneficiaries are Cyborg and The Flash: neither much of the notion was formed beforehand, but together they are the heart of the beautiful cut. Fisher’s performance, trying to get a glimpse of hope as a broken youth, is sensitive and surprisingly nuanced, and especially since Cyborg is now forced that the character has room to breathe.
In the Whedon version, Victor is a teenager who at least instinctively transforms into a human-robot hybrid. We don’t learn much about him, and his powers are never well defined and make no sense. In Snyder’s Cut, we see him losing his mother in a fatal traffic accident in a flashback. He is separated from his father (Joe Morton), a top scientist specializing in alien technology, who uses one of the mother boxes to turn Victor into a cyborg after the crash.
Even his father is fired up and now feels completely three-pronged – a change that pays off at the end of the second act, when he sacrifices himself to help his son Does. “Moms played a big role in ‘Batman v Superman: Dawn of Justice’ and it was on our minds that it would be about the father,” Snyder said in the interview. “Father’s sacrifice is something we wanted to come through.”