"A Slow-mo Sci-fi Slog Rebel Moon - Part Two Review" is a film that has left audiences divided. Some praise its stunning visual effects and intricate world-building, while others criticize its slow pacing and lackluster character development.
The sequel to the original Rebel Moon, this film picks up where the first one left off, following our rebel heroes as they continue their fight against the oppressive government. The action sequences are undeniably impressive, with each explosion and battle scene meticulously choreographed in slow motion.
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.)
With all of the dull table-setting complete, 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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