Indisputably, two years ago a cinematic and pop culture event transpired in theatres that includes two of the most universally notorious comic book characters of all time that had faced unjust acrimonious and vitriol criticism that still deafeningly scourges this spectacle presently, Batman v Superman Dawn of Justice, the mere thought of writing a review for the visionary virtuoso auteur Zack Snyder’s magnum opus is inordinately peculiarly frightening to say the least.

I can recollect experiencing this in theatres six times and what had enticed me to return to the frigidity discomforting seats of a battered theatre with rows of clamorous prattle was how I could not coherently unite my words and introspect myself on the spectacle, I was positively overwhelmingly nourished with an enrichment of such uniqueness and inventiveness that contorted the formulaic of blockbuster supers that was the divine awakening for my adoration of all things cinema and the dross state of other superhero movies that appeared diluted after experiencing this masterclass.

Zack Snyder’s sharp direction and Larry Fongs alluring cinematography is an inseparable atom, they blend so flowingly on screen, mongering an enrapturing cinematic epic with such perplexing visual significance that the audience and myself are still strenuously and pensively trying to decipher. Chris Terrio’s ambitiously nuanced writing and Zack’s bold conception drags this out of the adolescent pool of blockbuster cape & spandex epics and propels it in the frigid shallow viscosity of the ocean, exemplarily studying the ideologies of two conflicting forces that concurrently commentates on the climatic state of politics and existential corruption of power, submerging the audience into a fictional world that doesn’t feel detached from ours. Junkie XL and Han Zimmer combines musical forces to transfigure into a behemoth sixteenth note, delivering us a strident yet mellifluent score that will traverse through your emotional disciplines, leaving you in utter awe.

A prominent powerhouse cast that detonates with such proficient and seasoned acting that would be a prodigious drag to distinguish each actor and actress alike but disputably, the standouts are Ben Affleck, who captured the definitive portrayal of the Dark Knight that is a concretely merciless and dismally matured take on the caped crusader who’s apprehensive of the largesse from the cracks of heaven, Henry Cavill’s Superman which may appear deviated from the ideals of the character but he has never beamed with such a titanic of optimism and compassion, saving a planet from from there contemptible selves and there asinine convictions and Jessie Eisenberg, who vacated me perplexed with how unapologetically ridiculed and mocked he is for such an accomplished role, portraying a prime refurbishment of Lex Luther thats a menacing megalomaniac who aspires to annihilate the two opposing heroes.

No matter how leisurely, I truly am optimistic that people will wise exceedingly to this masterwork of cinema in late years from now and concord or be deferential to each others convictions.