I’ve watched the Snyder Cut. I’m neither a Snyder superfan nor a Snyder hater, so I went in prepared for it to be either better or worse than the Whedon-Snyder hybrid version, though obviously I was hoping for better. And better indeed it is; I enjoyed it much more. To be sure, each has elements I liked that the other lacks; still, the tone of the Snyder version is much less uneven than that of the hybrid, as one would expect.
Comparisons between the Whedon and Snyder versions are sometimes surprising, though; a lot of humour one might have thought was Whedon turns out to be Snyder (though of course a lot also doesn’t), and one major montagey scene that looked like pure vintage Snyder turned out to be Whedon.
A lot of people are rolling their eyes about the four-hour runtime, but I greatly preferred the measured pace and slow burn that gives the story and characters more time to breathe. In particular, Cyborg, Cyborg’s father, and the Flash get a lot more to do. Also, although Snyder continues to operate better at the “moment” level than at the “scene” level (to quote one perceptive YouTube analyst I can’t seem to find now), that vice is less in evidence when he’s allowed more time.
Plus: in this era where people demand to bingewatch an entire season it’s a bit odd to complain about a movie’s length, especially since it’s online rather than in a theatre so you can pause whenever you like, and in any case Snyder has broken the movie into six chapters so you can treat it as a six-episode miniseries and watch one episode at a time if you’re so inclined.
The “Knightmare” flashforwards in this movie finally make sense of the earlier ones in Batman v. Superman; if you put them all together you get a fairly clear picture of what happens in the future that Barry wants Bruce to avert.
Not everything is better in the Snyder cut. I like Whedon’s Steppenwolf better (Snyder admittedly gives him better motivations and backstory, but the Whedon version gives him more personality and more menace). Wonder Woman’s now-familiar theme music gets used only once; instead there’s a new Wonder Woman leitmotiv that, while I like it, I’ve gotta say is overused. And a couple of her new scenes make no sense (I won’t go into details, because spoilers). The Snyder version also asks us to believe that one of the villains just forgot the location of the thing he desires most in life. Snyder’s ending to the Lois/Martha scene completely undercuts it; one of the new characters is just shoehorned awkwardly in; and I’m not crazy about the aspect ratio (which I gather Snyder chose mainly in the hope of future IMAX showings).
And in both versions, the Apokoliptians all look like rough-hewn CGI video game monsters rather than actual characters. That can only make things difficult for the upcoming New Gods movie, at least if that’s supposed to be in continuity with the earlier movies – though the likewise upcoming Flash movie may hand DC a get-out-of-continuity-free card.
One final note: in the hybrid version, the narration over the flashback scene of hiding the motherboxes seems to be a direct homage to the opening of Fellowship of the Ring; if you were wondering whether that was Snyder’s idea or Whedon’s, lo, it was Whedon’s – the Snyder narration is much less Fellowship-y. Though of course the idea of three major peoples each receiving a perilous magical gifty remains.