At this point, Zack Snyder should really consider giving a masterclass on editing and storytelling because he is the living proof of a filmmaker who can define, with proof, how a cut can affect a film’s narrative.
When “Rebel Moon’s” PG-13 cuts came out, I watched it twice, the second time at a private screening, to make sure what I had seen and interpreted made sense. But even after the rewatch, it left me heavily disappointed. It made me feel pity for those who did not like Batman vs. Superman when it came out in theaters, as I found myself giving the same excuses I’ve been fighting against all these years. And naturally, I chose to stay away from the IP until the director’s cuts came out.
I promised myself that I’d defend this film to the end if it ended up being simply good—the bare minimum. With that and a little bit of faith in my favorite director, I leaped into the films the moment they came out.
When Zach Snyder makes bold statements about pitching “Rebel Moon” to Disney and the pitch being rejected, it would make sense if it were the PG cuts. The director’s cuts’ epic scope and mature themes undeniably showcase a universe with the potential to rival established franchises.
“Rebel Moon,” Chalice of Blood, and Curse of Forgiveness are two chapters of the first part of the story of the rebellion that takes place on Veldt as Kora, an outlaw of the Motherworld, makes a life-altering choice: saving the village that sheltered her by uniting the rebels and warriors from across the galaxy to fight an army so big and strong that it’d practically mean suicide.
The story remains the same as last time, except we now have more lore. History, politics, motives, and emotions are brought back into the film from the cutting room floor. The film’s extended and, at times, alternative scenes help frame a more compelling narrative that gets the time to breathe, making the film feel less ‘woke’ and forcefully empowered to real empowerment. Every cut, every slow-motion shot, and every speed ramp makes sense and helps push the narrative even more, making the film go from being a weirdly cut two-hour drag to six hours of me going, “I DO NOT WANT THIS TO END!”
The characters of this universe feel genuinely fleshed out, and some people would be worth investing in. It looks like Snyder’s Snyderisms did just the trick!
In the director’s cut, Kora transcends the mere protagonist of the PG-13 version to become a fully realized, complex character. Her backstory, meticulously woven into the narrative, provides a profound depth to her motivations, transforming her from a capable warrior to a tragic figure driven by her guilt and a need for redemption. Sofia Boutella’s masterful portrayal captures the intricate nuances of Kora’s character, imbuing her with a raw vulnerability that is both captivating and heartbreaking.
Ed Skrein’s Atticus Noble undergoes a transformative evolution from a one-dimensional villain in the PG-13 cut to a menacing, multi-faceted antagonist in the director’s cut. His character’s expanded screen time reveals a complex and chilling persona, making him a truly formidable adversary.
Nemesis felt like the blandest character in the PG cuts, but seeing her being given history layers and an introduction sequence that shows her empathetic side was excellent. The context of her having to kill Harmada and being torn about it made so much more sense in this version. Seeing the spider babies come out of Harmada was heartbreaking. Donna Bae nailed her performance, and it was lovely to see her character smile often.
Djimon Hounsou’s character, General Titus, experiences more pain, hope, and leadership as he navigates the film. I love how even a mere extension of seconds helps sell the narrative even more.
I got bored with Tarak in the PG versions because it was a snap-switch between scenes with no time to breathe, but here, there’s more story and more maturity to the character. He feels so alive and ready. Staz Nair’s Tarak felt like one of the significant hearts of the film, followed by Elise Duffy’s young warrior, Milius. I cannot begin to explain how much I loved their character. There was pain, aggression, and a reason to fight. They went from being an excellent side character to being on the frontlines with this one. Also, they have beautiful eyes. You cannot help but feel their character’s pain, which is why the ending battle feels so much more personal.
Ray Fisher’s Darrian Bloodaxe is a force of nature in the director’s cut. His character’s backstory is expanded, providing a deeper understanding of his motivations and the weight of his leadership. Fisher’s performance is raw and powerful, capturing the character’s complexity and making him a standout among the ensemble.
Charlotte Maggi and Sky Yang’s portrayals of Sam and Aris, respectively, highlight the film. Their blossoming relationship is a tender counterpoint to the brutal violence, and their characters’ growth throughout the narrative is inspiring. In the scene where one of the soldiers is about to attack, Sam and Aris step up and keep hitting the soldier, and Sam intervenes to stop him as the fear of losing one more person is taking over Aris. It was one of the most powerful moments in the film, and now that one love story has ended between Kora and Gunnar, they can be more at the center of the storyline during Rebel Moon’s third installment.
Sir Anthony Hopkins as Jimmy felt like a very inspiring and hopeful character. The scene shared between Jimmy and Sam when she makes him a flower crown is another of my favorite scenes in the film, followed by his action sequence and his sequence in the fields, where he narrates his peace in a poetic monologue. Truly magical!
The ensemble delivers exceptional performances, bringing the characters to life with depth, nuance, and authenticity.
Snyder’s director’s cut of Rebel Moon is a cinematic odyssey that masterfully unfolds over six hours and is divided into two captivating chapters. A stark departure from the truncated PG-13 version, the film emerges as a heartfelt epic that demands and rewards the viewer’s entire investment.
The biggesMy biggest complaint about the last version was how much it felt like a compilation of sci-fi elements from other films cramped into one. This film has its own identity, and while there’s undoubtedly a presence of influence, this version doesn’t rely on it.
The editing by editor Dody Dorn is fully unleashed in these cuts, giving a much more compelling version than the last. Although I do feel that if the PG cuts were discussed beforehand, the film should’ve been written so that it doesn’t feel so bland during the PG cuts. PG, in no sense, means terrible. The film’s reliance on the director’s cut despite having the option of total creative freedom feels a bit wrong. Why leave a bad taste in the audience by alienating them when you can work on the script properly in the first place? First impressions last, and it’s unnecessary to cause chaos the first time and keep talking about the director’s cuts. That’s conscious sabotaging.
The film’s score and original songs significantly enhance the narrative’s emotional impact, providing a powerful sonic backdrop to the epic tale.
The action is grand and very engaging, and so is the cinematography. These films are a visual spectacle. The only thing I did not like about the shots were the ones with some shockwave, and we saw the heroes rolling over. The close-up added with the slow motion sort of feels distracting. That, and the color grading. This film has a heavily muted color, making it feel like a television box from 70 years ago. I preferred the color of the PG cuts.
In conclusion, Snyder’s director’s cut of Rebel Moon is a cinematic triumph, offering a rich, immersive world-building experience with stellar performances and a compelling narrative. With its exceptional cast, captivating story, stunning visuals, and powerful score, the film is a testament to Snyder’s visionary filmmaking. It makes it a universe worthy enough to be a huge IP. It is a rewarding cinematic journey worthy of a four out of five-star rating.
