For better or worse, a Zack Snyder film always provides a lot to unpack. Following the viewing of his 134-minute space opera, Rebel Moon — Part 1: A Child of Fire, one might be less inclined to dissect its numerous shortcomings.
In an attempt to channel the influences of Akira Kurosawa and George Lucas, Snyder weaves a classical tale in Rebel Moon. The film boasts well-placed characters, cool myth-making, grand action set pieces, pristine set designs, nostalgic elements, and a formidable adversary. However, the end result is a clumsy amalgamation of generic sci-fi tropes, caught between a sense of déjà vu and outright cliché. Adding to the oddity is Snyder’s puzzling use of blur, reminiscent of a technique employed in the post-credit scene of his Justice League cut, delaying the suspension of disbelief.
Rebel Moon is unmistakably a Zack Snyder film, showcasing his cinematic trademarks in every frame. The director exercises complete control, devoid of the compromises that may surface in a later R-rated cut. The movie serves as a showcase of Snyder’s visual flourishes, exemplified in scenes like the protagonist Kora (played by Sofia Boutella) recounting her past. Despite the rousing score, cinematic slow-motion, and edgy green-screen CGI, the emotional impact is lacking.
The plot revolves around a war-torn galaxy reeling from the assassination of the royal family of Motherworld. Balisarius declares himself Regent, leading to unrest across subordinate planets. On the peaceful planet of Veldt, Kora and a farmer named Gunnar decide to resist the puppet Admiral Atticus Noble and his Imperium army. The narrative unfolds as they recruit a team of soldiers from different corners of the galaxy to oppose the regime.
The characters, though engaging, follow a formulaic pattern in their recruitment, with their backstories presented like evenly-cut blocks strung together. The eventual showdown, though expectedly epic, borders on grand-scale silliness, leaving the audience with a sense of pointlessness.
Despite ample space for mythos, Kora fails to anchor the potential for a sequel or franchise. Boutella’s attempts to convey world-weariness come across as a handful of stock expressions. The supporting characters, while cool and with intriguing backstories, seem like plastic action figures.
The film’s lack of ambition is surprising, considering Snyder’s reputation. While the classical approach to the screenplay isn’t the issue, the filmmaker seems to lose himself in mythmaking and world-building, neglecting fresh and innovative concepts. The hope is that the second installment fulfills the promises made, as for now, Snyder’s director’s cut of Justice League remains his most heartfelt tribute to a popular IP.
