The critic’s war with the DC movies produced by Atlas Entertainment and distributed rather boldly by Warner Bros. isn’t because the movies are bad. Relative to film history, the Zach Snyder directed films with Christopher Nolan serving as executive producer are damn good movies. Modern critics are suffering from the same problem news pundits and political hacks are in the Beltway industry, they are frustrated know-it all institutionally trained, and they want to make their big mark in life by tearing down other people—because they can’t do what they talk about. I read several of the Rotten Tomatoes reviews by many smug newspaper reporters trying to save their dying industry by bitching about the new Justice League movie. They couldn’t be more wrong, and there is no way any of them could ever produce such a magnificent movie. Justice League on many levels is a breathtaking film. It is one of the greats directed with great love and epic vision and respect to film history. I didn’t realize that Hans Zimmer wasn’t scoring this one until I heard the unmistakable soundtrack of Danny Elfman and the very intelligent resurrection of the 1989 Batman theme. The music alone represented a kind of time capsule of all the great themes of these DC characters even going back to 1979’s Superman at one point. Justice League paid great respect to the last century long love of these charters who are a massive part of our American mythology and the critics just don’t seem to understand what train they are on. Their hatred can be summed up with two words……..Atlas Shrugged.
I certainly didn’t miss it, and I wasn’t looking for what wasn’t there, but obviously Zach Snyder and the fine people at Atlas Entertainment are Ayn Rand fans—and why shouldn’t they be? Ayn Rand was a great American philosopher who made great arguments in defense of capitalism during the middle of the last century. But Marxist supporters hate her. They hate her great American novels—particularly Atlas Shrugged and The Fountainhead so any semblance to those literary references will draw the fangs of Marxists everywhere and it is that which has caused them to despise the work of Zach Snyder. For example, let me provide some context. Even though I was not a fan of another movie by Atlas Entertainment that was released last year, Suicide Squad, Steve Mnuchin was one of the producers and essentially went straight from that project to Donald Trump’s Treasury secretary. I watched that film flying back from Europe earlier this year and I thought it was terrible, even though I like Mnuchin personally. The film for me really fell apart in third act, so the critics had something to pick on with that one. But Dawn of Justice was pretty incredible and I simply love the R rated Zach Snyder director’s cut. The people making these films look clearly to me to all be Ayn Rand fans which I share with them. I wouldn’t say that is the only reason I love these Atlas Entertainment produced DC moves, but it’s a good place to start. I would say that the dividing line between people who hate or love these new movies come down to whether the viewers are Marxists or capitalists.
As much as I loved Dawn of Justice, I did not like that Superman died at the end—and that clearly had an impact on the box office, which fell short of $1 billion dollars in worldwide revenue. I could clearly see the frustration of Warner Bros. on the screen of Justice League. The movie was only 2 hours long and it could have been four. Warner Bros. from their perspective need billion dollar releases so they can compete with Disney’s Marvel universe—which is finally fading. They obviously put down some creative clamps on Zach Snyder with Justice League to meddle in some of the creative input designed to maximize profit. I was also worried that Snyder had to leave the film during post production due to a death in his family. I wasn’t sure if that was going to show up in this movie, but it didn’t. Josh Whedon stepped in to help finish the film and the results were impressive even with the pitfalls placed in front of it. If this film is considered a trilogy of the new Superman movies starting with Man of Steel, then Dawn of Justice and finishing with this bold Superman who has come to his complete fulfillment in Justice League these films are some of the greatest work ever done in film—as a body of work. And I can tell you why critics didn’t like Justice League, because the point of the entire film was that Superman was dead and the world was afraid feeding the terrors from all over the universe to come to earth and destroy it as just another conquest. Just like the hero of Atlas Shrugged, John Galt, Superman was referred to in Justice League as “the engine of the world” which is taken right off the pages respectfully of Ayn Rand’s great classic.
Marxists cannot come to grips of with the Ayn Rand concept of raw individualism. You can see the hatred rather dramatically in the Hollywood Reporter review of Justice League. Superman is the engine of the world and now that he’s gone the world is literally falling apart not just from aliens, but from internal philosophies that are all too similar to our current politics. The failures of progressivism are on display in Justice League in not such a shy way, and industry critics are aware of it. Here is a short clip from that THR review, notice how it ends. It sounds an awful lot like a Washington Post article about Donald Trump—clearly there is a political element to the review process and Marxists don’t want the public to have their philosophy challenged in their movie industry.
“We’re not enough,” Bruce Wayne/Batman declares upon experiencing a setback with Steppenwolf. “The world needs Superman.” And so it gets him, well over halfway through the film. Suffering from psychological and memory issues, he needs to be reminded of who he is by the ever-earnest Lois Lane (Amy Adams) while he wanders around his native farmland, shirtless, until finally coming to his senses with the declaration, “I’m back now, and I’m gonna make things right.” Atta boy.
From there Superman pretty much goes and kicks serious ass in a very satisfying way—the way it has taken three movies to arrive at. In Justice League Superman has his Indiana Jones moment from the great classic Temple of Doom when the hero is unleashed from a dark spell to just kick the crap out of the villains—and it was fun to watch. I think the notion that not even the great team work of the world’s lost gods left behind on earth from an era of greatness was enough really irritates Marxist film critics. And I say that because if you were to go to dinner with any of them and get to know their personalities, I’m sure they are capitalist hating despots to their very core who are so consumed with Marxist fantasies, that they just don’t understand the rules of life. Individuals make the world go, not collective group think. We are not all better together; we are better when great personalities clear the way and make things possible. Even though it was the team of the Justice League who all brought something to the table to resurrect Superman from his deathly slumber, it was out of their personal necessity to survive for which they had to do it—and that was something The Hollywood Reporter review just couldn’t stand.
As much as I am a Hans Zimmer fan the choice to put Danny Elfman at the helm of making music was a fantastic choice. The way Elfman pulled together all the themes of the characters not just from the latest DC films, but from the last forty years was very cleaver—as if all these characters and their histories were converging on this very moment. When you go see this movie be sure to stick around for the end credits—Lex Luther is putting together his Legion of Doom to combat the Justice League which can lead to a whole array of future films that gives all these great heroes something to do. Wonder Woman was great in this movie, Batman was fabulous. The Flash was extremely funny and brought a lot to the table. Cyborg, and Aquaman were also very good additions. The plot to Justice League actually reminded me of the first Lord of the Rings film Fellowship, and everything was done on that type of scale. It was just a wonderful movie going experience. The film looks like it’s going to hit $110 million in spite of the Marxist reviews and that’s great. Because Warner Bros. needs to be paid for their risk in letting Atlas Entertainment make such a great film that goes against the current Hollywood tide of Marxism. There was a scene in the movie where the Flash asks Batman, “what’s your superpower.” Batman says, “I’m rich,” which was a very Ayn Rand thing to say, and it was appropriate, and true. Justice League is not only fun, but I’d say it’s important to the mythology of our species and it’s about time that filmmakers tell such stories without apology and even a little boldness at what really constitutes the engine of the world. Group think or individuals—and in Justice League the answer couldn’t be clearer. On a scale of 1 to 10 I give Justice League a massive 100. If you want to send a message to the Marxist Hollywood critics, put a little money in the pocket of Warner Bros. and reward them for their ambition and stamina in bringing Justice League to life. Because they deserve it, as do the fine people at Atlas Entertainment.
Now………bring on The Fountainhead the way it deserves. I will be the first one in the theater when it’s released! Go Zach, Go!
Additionally, to get insight into how the critics game works read this Variety article that was published early Saturday morning 11/18/2017 ahead of the box office takes from Saturday and Sunday. They are clearly trying to shape the story instead of letting the market do what it needs to do because they don’t like the message–they are out to sink the film because of the content. As of this writing, I think Saturday and Sunday word of mouth will show an uptick and will be well above Variety’s hit piece projections. Read that article for yourself:
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