Film Review: 'Justice League: Crisis on Two Earths'

“Justice League: Crisis on Two Earths” (2010) is as solid as they come. It follows the acclaimed “Justice League” (2001-2004) and bridges the characters to the following series “Justice League Unlimited” (2004- 2006). A show stands resolute as the DC universe on screen. “Crisis” continues in step with excellence: high speed storytelling, heartfelt writing and phenomenal voice acting. 

Crisis on Two Earths

To start, alternate-Earth-Lex Luthor (Chris Noth) builds an interdimensional machine to escape the tyrannical Crime Syndicate, aka the evil Justice League of his world. This diabolical team is composed of Superwoman (Gina Torres), Owlman (James Woods), Ultraman (Brian Bloom ) and Johnny Quick (James Patrick Stuart). Phasing into our world, Lex recruits Superman (Mark Harmon), Wonder Woman (Vanessa Marshall), Martian Manhunter (Jonathan Adams) and The Flash (Josh Keaton) to save other-Earth. True to form, Batman (William Baldwin) decides it’s not his problem and stays back. During the Justice League’s crusade to release Other-Earth from the Crime Syndicate’s tyranny, Owlman reveals to Superwoman his devastating plan: he wants to blow up the universe. Really. This nihilistic suicide bomber dressed as an owl found Earth-Prime, the original earth, and deduced if he could destroy it then every other earth would follow in flames. 

“Justice League: Crisis on Two Earths'' is the beginning of DC Animated excellence. The film, along with its series counterparts, established a lovable dynamic of Justice League life. The team is free for team-ups like “Justice League: War'' (2014) or stand-alones like “Constantine: City of Demons” (2018). Individuals are recruited temporarily or permanently, appearing when needed. The films themselves are enjoyable in any order because of their independent structure, characters are nearly static and any prior knowledge is swiftly provided within the first five minutes. Plot rules all, and simple conflicts allow for fun character interactions and elaborate fight scenes. “Crisis'' set the standard for terrific voice acting and choreography and despite mediocre animation it’s a wonderful watch.

Modern Implications

Eleven years after “Crisis” the “Snyder Cut” (2021) was released. In the aftermath, I’ve spent many hours reconsidering my view of the ‘superhero movie’. Is a superhero movie a retelling of a comic arch? Or must it only contain the general traits of a comic book character? Does it even have to resemble a comic book in any way, content or stylistically? Marvel and DC cinematic studios have grappled with their ‘formulas’ to make a successful superhero film; although Marvel has settled on their character-driven narratives while DC is still busy experimenting. No test, however, has proven more costly than the “Justice League” (2017) 300 million price tag accompanied by the “Snyder Cut” added 70 million. 

I have settled on this: the important element of the “superhero movie” is “movie”. The “superhero” in this term is merely a reference to source material. A movie, broadly speaking, is a visual story told as beautifully (depending on taste) as possible. In this medium I fully believe brevity is the soul of wit. It is by this metric “Snyder Cut” fails. 

The “Snyder Cut” release was a vindication of the original director’s vision, and he seemed to have envisioned a four-hour slogging team-up film (documentary?). This marathon of super-sizing, included the introduction of Aquaman, The Flash, Cyborg and villain Steppenwolf while continuing the character arcs of Batman, Lois Lane and Wonder Woman. Squeeze in some tantalizing hints for Darkseid and Martian Manhunter but also do justice to the “Death of Superman” revival arc. I mean, no wonder it dragged. True to script, Snyder crammed each and every angsty backstory and plotline into this… movie?

DC Extended Universe Really Just Ignored DC Animated, Huh?

The point I am arriving at is this: DC Animated has been cranking out charming films with clearly defined characters and tight writing for almost a decade. “Crisis” set the standard with a 75 minute run time; it easily introduced the Crime Syndicate, explored the Batman and Flash friendship and a hearty debate on foreign intervention through the lens of superheros. They even had time for funny little character conversations and finished the movie off with one of Batman’s coldest final lines. 

The DCEU doesn’t need to copy Marvel’s every-movie-is-a-chapter-leading-up-to-the-next-avenger-team-up style, and they certainly didn’t need to jump straight to look-a-superhero-team-up!-give-me-your-money-like-avengers! The DCEU wasted the opportunity to learn from their sister department and create a gradual exploration and expansion of the Justice League. Instead, we are left with rushed films with multiple versions and gloomy people in tights. 

It is in turbulent times I turn to the heartwarming classics like “Justice League: Crisis on Two Earths”. After all, there is a special beauty to simplicity.