The problem with trying to create original science fiction epics in the vein of Star Wars is that the classics are so present culturally that the most recent films always tend to seem like pale imitations. Zack Snyder is far from the first director to take this reality as a challenge to prove how, with the right ideas, the right stars and the right studio, the wheel could be reinvented or at least intelligently reinvented. But The birth of Snyder Rebel Moon film franchise – THE second part which Netflix just arrived – is so narratively derivative, emotionally inert and overlong that it seems like this whole project is just cruising along on limp vibes rather than heading toward an intended destination.
Between two (so far) interconnected films that together last just over four hours, with the story told in Rebel Moon – Part One: A Child of Fire And Part Two: The Scar Giver it seems like it should look more complex. But there is a disconcerting simplicity in almost everything that defines Rebel MoonThe heroic main character of Kora (Sofia Boutella) and her quest to overthrow a fascist empire with the help of a ragtag group of freedom fighters from different planets across the galaxy.
Part one introduced Kora as a former soldier of the Imperium hiding on the agrarian planet Veldt after being disowned by his adoptive father, Balisarius (Fra Fee), as part of his plan to take over the empire. After years of following Balisarius’s orders to kill alongside his Admiral Noble (Ed Skrein), Kora knew the costs of resisting the might of the Imperium. But her love for the Veldt and its salt-of-the-earth people, like wheat farmer Gunnar (Michiel Huisman), was enough to convince her to stop hiding. A child of fire never really seemed interested in establishing how Kora’s small rebellion could become formidable enough to legitimately challenge an intergalactic power. But the film introduced other righteous warriors like blacksmith Tarak (Staz Nair), former general Titus (Djimon Hounsou), and cyborg assassin Nemesis (Doona Bae), whose unexplored stories all seemed to be the same. could be essential elements of a fascinating tale.
The first one Rebel Moon played like two hours of throat-clearing as Kora rallied her new allies to Veldt’s cause between set pieces that each resembled the kind of slightly imaginative, slowed-down action sequences that Snyder is known for. By concluding that Kora was apparently killing Noble, the film seemed to set the stage for The scar giver to jump in and finally clarify what Snyder was trying to accomplish with his thinly veiled Luke Skywalker analogue. But rather than pushing Rebel Moonthe story of in a significant way, The scar giver instead, he is retreading ground already established by his predecessor.
And while he spends time nodding to the existence of a larger universe brimming with potential for interesting stories, these gestures are clumsy to the point of making it seem like Snyder doesn’t have a solid vision for this frankness beyond his ability to imitate things. you’ve seen it elsewhere, although executed with much more skill. You can almost hear Snyder reminiscing about how blown away he was by The matrix as a disoriented nobleman returns from the dead The scar giver with a series of tubes affixed to various parts of its pale body encased in a slimy chrysalis.
Noble isn’t the movie’s biggest problem, but The scar giver presents him as a Darth Vader-like figure as he chokes his subordinates to remind them who he is. Back on Veldt, Kora’s relief is quickly dashed as news of Noble’s resurrection spreads, and it becomes clear that the Imperium intends to attack the planet for his defiance. But rather than relying on this feeling of impending dread, The scar giver instead, double sound Seven samurai inspiration with a series of sequences designed to emphasize that the people of the Veldt are just simple farmers who need Korra and her allies to protect them.
As The scar giverAs area farmers sing solemn hymns while harvesting their crops, Snyder appears to be following in the footsteps of the hunger games films, where music played an important role in establishing a deeper connection between District 12 and the Appalachian region of the United States. But when you actually listen to what the farmers say, the most important takeaway is that they would be powerless to defend themselves against the Imperium because all they know how to do is work the land with simple tools. These details were already evident in the first film, which is part of why Kora spelled them out in The scar giver It’s so stupid. At the same time, however, the new film’s story is so thin that it’s hard to imagine Kora having much to say to her followers other than warning them that not all of them will survive the battle at come.
Boutella and her co-stars make an admirable effort to try to make these characters feel like they are could be convincing in better circumstances. You can see flashes of genuine imagination where the gang comes together to share their story as if this knowledge could somehow hold a secret that will help them defeat Noble and Balisarius. It doesn’t, but it changes briefly The scar giverThe focus shifts away from Veldt to other, more inspired worlds in flashbacks that all feel like clips from more exciting films brewing in Snyder’s subconscious. But these moments are unfortunately brief and ultimately don’t add much context to the story at hand, which drags on at a glacial pace due to the passage of time. The scar giver switches to focusing on Kora and the others, basically waiting to be attacked.
Even in its explosive climax as the Imperium descends on Veldt, The scar giver looks undercooked because it’s not very clear how this one battle could change things on a larger scale. Dune was able to avoid this problem by making Arrakis a particularly powerful planet thanks to its precious natural resources. But The scar giver it’s missing that kind of world-building – the kind that makes you understand why people want things they’re willing to kill for. Instead, the film ends on a cliffhanger and a twist that is only surprising because of the forgettable nature of the character it involves.
That’s far from the sweet spot for the second installment of a sci-fi film franchise that, so far, has cost more than $166 million to produce. But it’s a subject Snyder is comfortable with. Ironically, it wouldn’t be so disappointing ifRebel Moon – Part Two: The Scargiver was an appropriate period at the end of a sentence. Snyder has made it clear that he wants to continue launching these things, and with Netflix having recently signed him to a new overall dealit seems very possible that he will do just that.
Rebel Moon – Part Two: The Scargiver also stars Ray Fisher, Elise Duffy, Anthony Hopkins, Alfonso Herrera, Stuart Martin, Cary Elwes and Charlotte Maggi. The film is now streaming on Netflix.
