Whedon wrote and directed new sequences and oversaw reshoots and other changes that incorporated a brighter tone and more humor while reducing the runtime significantly in accordance with a mandate from Warner Bros.

The theatrical version polarized critics and underperformed at the box office; this resulted in Warner Bros. opting to prioritize developing future films around individual characters, with less regard for consistency and continuity within the wider shared universe.

Thousands of years ago, Apokoliptian warlord Darkseid and his Parademons attempt to invade Earth using the combined energies of the three Mother Boxes to harvest the Anti-Life Equation, a secret power capable of controlling all of existence.

Snyder stated Swanwick was always Martian Manhunter since Man of Steel and secretly guided mankind to do good as he wanted humanity to try to protect Earth themselves before intervening.

[35] Jared Leto reprises his role from Suicide Squad (2016) as the Joker, a psychotic criminal and Batman's archenemy, who becomes a surviving resistance member in the Knightmare future.

[40] Actors reprising their roles from previous DCEU films include: Eleanor Matsuura as Epione, Samantha Jo as Euboea, Ann Ogbomo as Philippus, Doutzen Kroes as Venelia, Carla Gugino as the Kryptonian ship's voice.

Uncredited appearances include Robin Wright as Antiope, Billy Crudup as Henry Allen, Kevin Costner (via archival voice recording and still photograph) as Jonathan Kent, Joe Manganiello as Slade Wilson / Deathstroke and Russell Crowe as Jor-El.

[70] The scenes that Whedon wrote or re-shot for the theatrical release featured a brighter tone and more humor, and reduced the level of violence seen in Snyder's darker direction.

[107][108] For a similar campaign at the 2019 New York Comic Con, the movement purchased ad space on two billboards over Times Square featuring quotes from members of the cast and crew.

[109] That December, the movement rented another flying banner ad, this time passing over Warner Bros. Studios and directly asking Sarnoff to release the Snyder Cut.

[110] In January 2020, the movement bought four minutes of ad space advocating for the film's release on a digital banner wrapped around the interior of Riverside Stadium during the FA Cup.

[111] Shawn Robbins, chief analyst for Boxoffice Pro, suggested the size of the movement was too small to make an impact, opining that the film "doesn't seem to be something many outside the die-hard fan base are clamoring to see.

[118] Brandon Katz of The New York Observer said that the movement was composed of "both toxic DC fans that hurl vitriolic harassment at any and all opposition, and supportive moviegoers that genuinely enjoy Snyder's style and are just hoping to see the conclusion of his trilogy that began with 2013's Man of Steel.

[58] Robert Greenblatt, then chairman of WarnerMedia and head of HBO Max, stated that discussions surrounding the release of Snyder's Justice League began in late 2019, and lasted a few months.

[132] In response to this concern, HBO Max CEO Tony Goncalves affirmed the passion of the fandom and denied such claims, stating that as a business, they listen to the consumers' demand.

[136] Later that month, Amber Heard, Jared Leto, and Joe Manganiello joined the cast to reprise their DCEU roles as Mera, the Joker, and Deathstroke, respectively.

Chris Agar of Screen Rant called the filter "a stark contrast from the colorful Justice League posters that were prevalent in the buildup to the theatrical release, which is most definitely an intentional choice to separate the two versions of the movie.

[163] Julia Alexander, writing for The Verge, had remarked that those desiring a "more Snyder vibe to the film overall should be pleased," while Alex Abad-Santos of Vox observed the inclusion of scenes not included in the theatrical version, such as the death of Cyborg's father and Wonder Woman receiving the signal from the Amazons.

[172] On March 14, the final trailer for the film released,[173] with Daniel Kreps at Rolling Stone writing that it featured "many of the hallmarks that made Snyder's version of the blockbuster so mythic in the first place.

"[174] Two days later, DC published three variant covers of the film in the comic book issue, Justice League #59, written by Brian Michael Bendis, penciled and inked by David Marquez, and colored by Tamra Bonvillain.

[citation needed] A black and white version of the film, titled "Justice Is Gray Edition," had an exclusive theatrical release on July 19, 2022, with three IMAX screenings in New York City, Los Angeles, and Austin, Texas.

[207] Following its opening weekend, view-tracking app Samba TV reported that 1.8 million American households had watched at least the first five minutes of the film between March 19–21 (only counting smart TVs, not devices).

The site's critical consensus reads, "Zack Snyder's Justice League lives up to its title with a sprawling cut that expands to fit the director's vision – and should satisfy the fans who willed it into existence.

[242] Robbie Collin of The Daily Telegraph awarded the film a full five stars, praising Holkenborg's score, action sequences, and characterization, which he felt was superior to the original.

"[244] Writing for Variety, Owen Gleiberman enjoyed Snyder's direction, which he felt "exudes a majestic sense of cosmic historical evil," and compared it to Peter Jackson's Lord of the Rings trilogy (2001–2003), in addition to highlighting the visuals and the characterization.

"[247] Tom Jorgensen of IGN gave the film an 8 out of 10 rating, calling it a "vindication" for Snyder's vision, and like Seitz, maintained the extended runtime allowed for further development of its lore and characters.

"[248] Mick LaSalle, for the San Francisco Chronicle, gave the film a positive review, agreeing the increased runtime improved characterization and emphasizing his belief it was superior to the theatrical version.

Though he acknowledged that the plot, tone, and visual effects were superior to the theatrical version, he criticized the runtime and dialogue, opining that it "largely maintains a testosterocious monotony from its first chapter.

"[1] Writing for The New Yorker, Richard Brody also disliked the runtime, deeming it to contain scenes "chopped down to a bare informational minimum, leaving no room for thought or emotion."

[254] Hannah Strong of Little White Lies gave a 2 out of 5 rating, concluding that it "is overlong, miserable and signifies nothing other than the potential of fandom to influence top-level creative decision-making.