Not at all stellar wars

The second part of the “rebellious moon” cosmo -opera is being radiated by both critics and spectators. How can a sniper manage to shoot so badly, but at the same time remain a demanded director?

The last part of the space opera of Zach Snyder, contrary to the cult status of the director, did not become a hit in the striming service (according to the views for the debut three days, the first “Luna” was only nine among all the original Netflix films in 2023) and was defeated by critics. We figure out whether the director managed to correct the situation in the sequel, called “Leaving the Scars”, and whether this author’s cinema has the future.

The ardent fan of the Star Wars, director Zach Snyder from his student years, heeded the idea of ​​the spin-off of the film franchise of George Lucas. Back in the early 2010s, long before the launch of Disney conveyor production, he visited Lucasfilm. Then something did not work out , but now, thanks to the Netflix bosses, his dream project managed to realize. Snyder shifted the story of the Jedi in an original way and chopped it in two in the last fashion. The scene of the first part of the “rebellious moon” (its exit took place on December 22, 2023) is a far-haired galaxy, where the empire is the empire. After the murder of the royal family, the power was seized by the bloodthirsty senator Balisaria, under the leadership of which there is a punitive detachment led by Admiral Noun. Mercenaries with Nazi manners are instructed to find the rebels, according to rumors, who planned the revolution. Traveling through the galaxy, the local "death star" reaches the agricultural planet Veld, where peace -loving farmers live. The laptop requires grain reserves in hard workers, cold -blooded dealing with all the disagreements. Farmers are faced with an unenviable choice: to give all the food and doom the people to hunger, or to die at the hands of the Imperials, who promised to return two weeks later. Of course, among the inhabitants of the planet are daredevils who are ready to give the invaders a battle.

We remember what is great and terrible Zak Snyder

Zach Snyder is a cinema of a titanic scale. Some spectators literally idolize him, others hate with the same fanaticism. But the work of Snider does not leave anyone indifferent. Former advertiser and clipmaker, he made his debut in the cinema 20 years ago, moving the iconic zombie-Horror “Dawn of the Dead” George A. Romero. Together with the screenwriter James Gann-another pop cultural phenomenon of the 21st century, then putting the "guards of the Galaxy"-he turned the social satire into a dental action, where the action is not interrupted for a moment. Snyder's corporate handwriting is visible in his next picture - flying to the memes about Sparta Epic "300". Here, the visual part was totally dominated by the content, and the degree of pathos was twisted to a possible maximum. The rental triumph of the aesthetic film comic allowed Snyder to take on the adaptation of the “Guardians” - perhaps one of the greatest graphic novels in history. The gloomy neoar about the ambivalent superheroes, which was based on the political satire, did not repeat the box office success “300” (then the “light” Marvel superheroist was in the trend), but for the geeks Snyder turned into an idol with an almost endless reserve of trust in him.

Watching how the Marvel dashingly builds a superhero cinema, DC wanted to hastily cringe something similar. The studio entrusted to Snyder to create an answer to the Avengers. And he continued the course taken by him in the “Guardians”: he showed the story of the formation of Superman as a biblical epic, up to a straightforward comparison of Clark Kent and Jesus. The “man of steel”, who received mixed reviews, was followed by a crossover about the confrontation between the crypton and Batman - as it were, “God and man”. Critics willingly destroyed this bunch of Paphos, pumped up by Rapid - from today it seems that it is not entirely fair. The cinematic universe crackled at the seams, not having time to really form. Hoping to save their brainchild, the studio bosses took advantage of the personal tragedy of Snyder: while working on the “Justice League”, the director lost his daughter and left the shooting until they were completed, and Joss Widon was appointed in his place. The person who worked on the notorious “Avengers” was instructed to redo the gloomy blockbuster in something colorful and cheerful, but the final result scored the last nail into the coffin of the franchise. Only in 2021, under pressure from Internet users, Warner Bros. I released the original option, “Sniderkat” - the true “Justice League” overgrown with myths that met the expectations of the Fans. In the eyes of Giks, Snyder again became the God -man who defeated the rotten Hollywood system. Having left the DC on a major note (his colleague Gann came to re-claim the cinema), the director received a card-blanche from Netflix.

At first, Snyder removed the “Army of the Dead” for the striming giant-the first from the time of the “dawn of the dead” of the zombie explosion, where he, in addition to directing and producing, was responsible for the script and operator work. The author’s blockbuster of Snider did not become a sensation, but collected views and generally liked the wide audience. Therefore, when the director came to Netflix with the idea of ​​his own cosmo -opera called “rebellious moon”, he was happy to allocate all the necessary resources.

Although Snyder processed his original scenario, the similarity of the “rebellious moon” with “star wars” is visible to the naked eye. Another obvious source of inspiration is the classic film “Seven Samurai”. It is no secret that the saga of Lucas (and not only her) also gleaned a lot from the filmography of Akira Kurosawa, so the idea to remove the “seven samurai” in space is not meaningless. The trouble is that this concept has already been implemented in Mandalorz (see the 4th episode of the 1st season)-the official spin-off "ZV". It is no wonder that critics and spectators unanimously yelled about the egregious secondary of the “moon”.

Another claim to the Snider Cosmooper - and, more precisely, to the first film “The Child of Fire” - was that this was not a movie at all, but a huge teaser. The whole timing that has been the resistance of the bark travels through the planets, recruiting the warriors to protect Veld. Soon, and the peasant accompanying her, Hunnar manages to recruit the smuggler of Kai - the local khan Solo, who was mistaken in a foreign tavern. With the help of a new friend, the bark and the Hunnar hire the ex-genelae of Titus, Prince Tarak and the craftswoman Sword Nemesis. Finally, they find those very rebels and lure them to their side.

While the viewer unsuccessfully tried to remember the names of the characters (which, as can be seen from the listing above, is difficult to do), the first part, in fact, came to an end. For two and a small hour, Snyder managed to only fluently declare a dozen new heroes at once, new mythology and new worlds. Of course, there is no mention of any disclosure of characters, and the locations are spelled out schematically. The situation will probably correct the situation - its exit is scheduled for the summer. Moreover, the announcement took place in advance, from which the logical question follows: was it really impossible to mount a normal film right away? Apparently, the hype, which is invariably arising around the directorial versions of the snider, will now mercilessly monetize everyone who is not lazy.

However, the director’s loyal fans were sure that the second part would put everything in their places and without another “sniderkate”. Like, it was an exposition, but now the main action will begin.

The sequel “Giving Scars” starts from the same point at which the “child of the fire” ended. The bark, along with the detachment, returns to Velda to prepare farmers for a decisive battle with the head of the noun. As usual, the first half of the tape is dedicated to training, and the second is completely allotted. At the same time, everything is given in Slum here - and a duel on light swords, and harvesting. It seems that if in this four -hour dilogy to accelerate the entire rapid, then the movie will be reduced by at least a third. Probably, then Snider would have time to make the characters voluminous. In continuation, by the way, each of the faceless recruits is given a personal flashback-as many as two to three minutes. In the framework of group therapy, they alternately tell each other about the traumatic experience, which now serves as a motivation to fight with the empire to the last drop of blood. Needless to say, the heroes do not become less cardboard from this? And even the past of the cortex (she is Artlava-a deserted soldier who once served at the imperial court) is revealed in a hurry and looks the weakest component of the entire epic.

Since the time of "ecstasy" and "Kingsman" it is known that Sofia Butella has truly phenomenal plastic. And when it is necessary to virtually wave her arms and legs, she still has no equal. However, her attempts to make a drama are untenable even by the standards of the genre. It is ironic that the most living character of the dilogy is the Android Jimmy-an analogue of C-3PO, uttering wisdom with the voice of Anthony Hopkins. Most of the time, he, disappointed in human gender, significantly observes what is happening from the outside. And only to the finale, the philosophizing robot in a thorns crown descends from heaven and stood up for the suffering. The character is as Snyderovsky as possible.

It seems that the “rebellious moon” is the worst creation of Zach Snyder at the moment (at least now on Rotten Tomatoes she has the lowest rating from his paintings, both among critics and the public). Another thing is that this is still better than the trilogy of J. J. Abrams and some Disney series. In addition, all the attributes of Snider's cinema are present here: beautiful personnel-more than enough, opera scope-in ​​place, and the action scenes sometimes resemble the Hong Kong Ushas with their grace. The heroes speak exclusively “wolf quotes”, but even without a hint of irony, and the Junkie XL compositions are constantly rattling, thanks to which pathos reaches truly intergalactic proportions.

As a one -time film appetition “The rebellious moon” will be quite good - the main thing is not to wait for the revelations of the level of “keepers” or even “sniderkate” from it. In a recent interview , the creator of the dilogy optimistically said that the Trikvel script is ready, and also expressed hope of releasing six films as part of the film franchise. But whether Netflix agrees to continue to sponsor the “star wars” of Zach Snyder is a big question. It is one thing when the director took up ready -made stories, familiar to almost everyone, another - when he is trying to create something new from scratch. No matter how fascinating the visual style is, it is obvious that without a clear scenario base, all this simply does not work.

Considering that the very first part of the “moon” clearly unfinished by views, and the second critics and viewers are even in more than the past, objective reasons for the development of the expensive (the budget of the dilogy amounted to $ 166 million) there is less and less diluted in streaming.