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Tag: Kurt Johnstad

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: 300 (2006)

“Spartans! Ready your breakfast and eat hearty… For tonight, we dine in hell!”

King Leonidas

Fittingly nominated for QuickView #300, Zack Snyder’s sophmore feature marked the first of many comicbook-inspired movies and remains arguably his best. 300 is less a film adaptation of Frank Miller’s graphic novel than a translation — Snyder would develop a range of visual techniques to emulate the source material, including its dichromatic palette of red and gold, shot almost entirely on digital backlot with only two practical sets. Even Snyder’s trademark overuse of slow-motion seems fitting here, where he is literally recreating panels of Miller’s art. Although based on the Battle of Thermopylae, this is overtly fantasy rather than history, narrated by a Spartan soldier with the purpose of mythologising events. This explains the one-sided perspective that garnered criticism for painting the Persians as barbaric mystics (often monstrously disfigured) whilst the Greeks are styled as the discliplined defenders of rationality and freedom (conveniently ignoring that Sparta was built upon a slave class that is never shown). The cast is filled with character actors able to bring stage skills to empty digital backlot sets; though many are now household names, most were not at the time immediately recognisable faces. 300‘s focus is not the reality of war but a pulse-pounding hypermasculine depiction of battle, cartoonish crimson sprays barely slowing its improbably muscular heroes, who are clad in little more than loincloths, capes, and more underlying homoeroticism than a Top Gun volleyball game. Like much of Zack Snyder’s work, 300 is undeniably style over substance but that is less of an issue here, where the source material was likewise unburdened by depth. When there is this much style, deployed creatively in ways we had never seen before, that can be satisfying in itself.

8/10

QuickView: Atomic Blonde (2017)

Atomic Blonde quad poster

“You know those movies where the picture just starts to slow down… and melt? Then catch fire? Well, that’s Berlin.”

Lorraine Broughton

Outside of superheroes, Hollywood has struggled to provide us with compelling female-led action movies. Atomic Blonde bucks the trend, though ironically Charlize Theron’s dedicated performance crafts a coldly determined character with whom audiences may struggle to empathise. A Cold War spy thriller with graphic novel roots, the script retains the unusual ability to surprise. Told in flashbacks through an adversarial debriefing, we know that what we are shown may not be the whole truth. James McAvoy’s nihilistic, brazenly duplicitous turn as a deep cover agent is a particular highlight. 1989 Berlin is shot in cool blues infused with splashes of neon colour⁠ — it is reminiscent of John Wick, which Leitch co-directed. Everything is familiar then, including the action (a brutal extended fight in a stairwell stands out), but this strange blend of Le Carré and John Wick is presented with a stylish boldness that demands attention.

7/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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