‘Rebel Moon Part 2’ Review

Rebel Moon’ series, author Sarah J. Maas continues to captivate readers with her intricate world-building and compelling characters. The story picks up where the first book left off, following protagonist Luna as she navigates the dangerous political landscape of a dystopian society ruled by a tyrannical government.

Maas expertly weaves together themes of rebellion, love, and sacrifice in this thrilling sequel. The action-packed plot keeps readers on the edge of their seats as Luna and her allies fight against impossible odds to overthrow their oppressors.

The Scargiver is an empty feast. It's a relentless onslaught of explosions, sci-fi tropes and meaningless exposition that amounts to nothing. And yet somehow it's still better than the first film in Zack Snyder's wannabe sci-fi epic franchise for Netflix, Rebel Moon: Part 1 - A Child of Fire. (What do these titles really mean? Who cares.)

Snyder is able to let his true talents soar in Rebel Moon: Part 2 by delivering endless battles filled with slow-motion action and heroic poses. It looks cool, I just wish it added up to something. Anything.

The last movie set up the Seven Samurai / Magnificent Seven storyline that’s wrapped up in Part 2. A big spaceship filled with Space Nazis (basically) shows up at a tiny, primitive Viking village on a tiny moon in the middle of nowhere and demands their grain. A mysterious woman named Kora (Sofia Boutella) fights off some of the soldiers and then decides that what they need to do is gather a group of heroes to take on the giant imperial army. She goes off to do just that with local farmer Gunnar (Michiel Huisman) and they come back with four heroes to help save the day.

Rebel Moon almost certainly didn’t need to be two multiple-cut movies. It probably could have gotten by as zero. But as a playground for Snyder’s favorite bits of speed-ramping, shallow-focusing and pulp thievery, it’s harmless, sometimes pleasingly weird fun. (That said, the first part is better and weirder.) The large-scale pointlessness feels more soothing than his past insistence on attempting to translate Watchmen into a big-screen epic, or make Superman into a tortured soul. Even Rebel Moon’s shameless attempts at serialization – The Scargiver essentially ends with another extended sequel tease, this time for a movie that stands a decent chance of never happening – feel freeing, because they excuse Snyder from the uncomfortable business of staging an apocalyptic showdown, or, worse, imparting a mournful philosophy. The whole bludgeoning enterprise is so daftly sincere, you could almost call it sweet.

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Sarah H

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