Meewella | Critic

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Tag: Djimon Hounsou

QuickView: Rebel Moon: Part 1 – A Child of Fire (2023)

“I am a child of war.”

Kora

The parallels between Rebel Moon and Star Wars — both set in a galaxy ruled by an authoritarian empire challenged by a small band of rebels — are overstated and certainly not the primary issue with Zack Snyder’s space opera, which draws liberal inspiration from the past 50 years of sci-fi movies. This “Part 1” (due to be concluded next year) sets up the pleasantly small-scale stakes of a farming community facing a ticking clock to destruction, but it devolves into a collect-a-thon when Kora leaves to recruit warriors to aid their fight. It turns the film’s second act into a series of extended introductions to cookie-cutter characters, usually involving violence. An amalgamation of these scenes may have made for a bombastic trailer but laid out in full it is barely watchable. Rebel Moon’s most interesting character is the android Jimmy, a contemplative former soldier voiced by Anthony Hopkins, but once established he vanishes (the fact he may be relevant in Part 2 does little to aid this film). A villainous Ed Skrein is at least enjoying himself as a cruel and capricious officer. Disappointingly, much of the world building occurs through clunky expository monologues about Kora’s past rather than emerging organically from the story. The purpose of planet-hopping space opera should be to explore the variety offered by a vast galaxy, but Snyder’s “vision” is a series of grimy monochromatic locations that rarely feel like distinct worlds. The action is rote, save for Nemesis’s twin-bladed fight against a chimeric arachnid, and Snyder’s continuing predilection for slow-motion adds little beyond extending the running time. If Netflix is paying for “content”, there is plenty here but with little depth to any of it. Rebel Moon is not even thematically consistent, with Nemesis warning against revenge immediately followed by Kora enticing her next recruit with a promise of revenge. With the production values on display this is not Battlefield Earth bad, but it does become nearly as ponderous. Snyder recently stated that he was glad he didn’t get his wish to direct a Star Wars movie because it granted him greater creative control in Rebel Moon instead; perhaps we should all be equally glad, if not for the same reason.

4/10

QuickView: The King’s Man (2021)

“Reputation is what people think of you. Character is what you are.”

Duke of Oxford

The third entry in the Kingsman series is an origin story for the secret organisation, told through an alternate history First World War. Vaughn perhaps wished to make a war (or indeed anti-war) movie, and he does produce some sobering footage of the chaos of trench warfare. Ralph Fiennes is a fine precursor to Colin Firth’s gentleman spy, but the Duke’s pacifist desire to shield his son, Conrad, from war feels at odds with the world of Kingsman, and the resulting focus transforms a franchise known for its excess into a tedious matter of fictional politics. Indeed, aside from a brief excursion to Russia to assassinate a scenery-chewing Rhys Ifans as Rasputin, it is only the film’s final half hour that truly feels like a Kingsman film at all. Much of my criticism lies in the script, plagued by awful dialogue and pacing — notably, this is Vaughn’s first film without Jane Goldman, his longstanding screenwriting collaborator. Transferring the authorship of Wilfred Owen’s most famous poem to Conrad is cheap writing and unnecessary revisionism, worst still as the boy has not even been to the front when he supposedly pens it. I criticised the lack of women in The Golden Circle and the situation has not improved, with Gemma Arterton being the sole noteworthy character. The best thing about The King’s Man is that it will surely free Vaughn to move on to other projects outside the franchise. Whether he can return to the rising star I heralded with his exceptional first three films remains to be seen.

4/10

QuickView: Shazam! (2019)

Shazam! poster

“If a superhero can’t save his family, he’s not much of a hero.”

Billy Batson

DC’s struggling attempts to mirror the success of the Marvel Cinematic Universe have left me wanting them to shelve the shared dark and gritty Snyderverse in favour of individual movies with wildly different tones to reflect their vast stable of characters. Shazam! shines for just that reason, a self-aware exploration of how a child would respond to superpowers that has more in common with Kick-Ass or Deadpool (albeit with violence toned down for a teen rating) than any recent DC film. Zachery Levi is a perfect choice for Billy Batson’s alter ego, bringing childlike exuberance to his physical performance and drawing heavily from Tom Hanks in Big. The supervillain conflict is formulaic and the film runs out of steam by the end, but genuine humour keeps this a light-hearted entertainment experience that hopefully encourages DC to greater variety.

7/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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