Rebel Moon: Part One – A Child of Fire (2023) Review!!

Synopsis – When a peaceful colony on the edge of a galaxy finds itself threatened by the armies of a tyrannical ruling force, a mysterious stranger living amongst its villagers becomes their best hope for survival.

My Take – Depending on which corners of the internet you lurk, filmmaker Zack Snyder is probably the most divisive director in the current Hollywood landscape. Having spent the better part of the last decade working on the now officially dead DC Extended Universe (DCEU) to mixed results, the writer-director, following the comparatively better received Army of the Dead (2021), turned his attention to constructing a self-made sci-fi franchise.

Originally conceived years ago, as a ‘Star Wars’ story with writer Kurt Johnstad (Atomic Blonde), this Seven Samurai (1954)-inspired story has finally come to life as a Netflix two-part space epic set in a completely original universe. With the sequel, titled Rebel Moon — Part Two: The Scargiver (2024), releasing on April 19, 2024, and two R-rated director’s cuts also releasing at a later date.

Though the usual Snyder-verse effects are on full display here, from long establishing shots and slo-mo fight scenes to gorgeous cinematography, for a first installment the results are still surprisingly not up to the mark.

Working more as an exercise in throwing absolutely everything at the wall, and seeing what sticks. Unfortunately, little does. It’s clear from the earnest tone, enormous budget and planned expansion of the franchise that Snyder’s intention wants to create something epic and he somewhat succeeds, but only at surface level; there’s certainly a sense of scale, but barely anything underneath.

The problem with the film, which Snyder co-wrote with Johnstad and Shay Hatten (John Wick: Chapter 3 – Parabellum) is that it doesn’t do enough to establish itself as something unique and coherent. Particularly it’s tedious parade of character introductions and planet hopping that’s so nakedly beholden to the Star Wars franchise.

Sure, it is not be his worst directorial, but it’s certainly his least impressive. Maybe that will change with Part 2, but I really wish he and his team had come up with better ways to make this universe special and unique rather than just a better produced version of Battle Beyond the Stars (1980).

To make things rather awkward for Netflix, Snyder has himself confirmed that his original R-rated version is an entirely different film altogether.

Set in a distant galaxy ruled by the Motherworld, a militaristic empire fueled by centuries of conquest and war, through Imperium soldiers, its infantry. And when the current king and queen are publicly assassinated during the coronation of the princess, Balisarius (Fra Fee), a prominent senator, declared himself Regent and took over the empire.

The story mainly follows Kora (Sofia Boutella), a former member of the Imperium, who has built a quiet but fulfilling life on the far-flung farming moon of Veldt in a farming colony. However, the calm is shattered when Admiral Atticus Noble (Ed Skrein), a sadistic military leader, lands on the moon, demanding everything and punishing them for selling their crops to the Bloodaxe siblings, Darrian (Ray Fisher) and Devra (Cleopatra Coleman), leaders of a fierce group of rebels hunted by Mother World.

Determined to take action, Kora, joined by a local farmer Gunnar (Michiel Huisman), volunteers to travel the length and breadth of the galaxy for the purpose of gathering the right group of warriors, which consists of a cheeky smuggler Kai (Charlie Hunnam), ex-nobleman Tarak (Staz Nair), a guilt-ridden cyborg sword master Nemesis (Bae Doona), and the disgraced General Titus (Djimon Hounsou), to repel the invading empire and prepare the people for the looming war on the rebellious moon.

Yes, there’s all manner of science-fiction spectacle to gawk at here, but while every element of production design, costuming, and world building is certainly specific, none of them are inspired or purposeful. Extensive attention is paid to plotting out lore and history, but the trio of writers forget to flesh out the characters that populate his meticulously detailed universe.

The warriors Kora assembles to defend her home don’t have much characterization, either. Kora flies from planet to planet collecting them; meanwhile, they’re each given one scene to show who they are. It also doesn’t help that the pacing is a mess. Most of the film’s run time has been exhausted by the time the gang is finally assembled, and a final battle does little to demonstrate what their individual talents bring to the table.

Indeed, I didn’t predict the twist and the betrayal that comes toward the end, but I thought the means by which our heroes escape was quite preposterous. Akin to his the DCEU, Snyder has once again created a cold, brutal world that is utterly lacking in any kind of charm, whimsy, or excitement.

The closest the film ever comes to eliciting any kind of emotional response is during the action-packed, slo-mo heavy combat sequences. And the action scenes are a highlight. The film’s visuals are another showcase for director Snyder’s personal brand of metal-toned, alternately dazzling and exhausting sensibilities.

Performances wise, Sofia Boutella proves herself to be a seriously underrated action hero. As the lead, Boutella brings the customary strength and stoicism expected of a dystopian protagonist. Charlie Hunnam, as always, brings a lot of fun to the proceedings and Michiel Huisman does well with whatever he is given. Even Ed Skrein makes a terrific villain as Admiral Atticus Noble, even if he is a walking cliché.

Unfortunately, Djimon Hounsou, Bae Doona, Staz Nair, Stuart Martin, Ingvar Sigurðsson, Ray Fisher, Cleopatra Coleman, Jena Malone, Alfonso Herrera, Sky Yang, Rhia Rees, Kingston Foster, Cary Elwes, Fra Fee and Corey Stoll get lost in the mix of introducing so many characters. I am particularly more interested to learn more about Jimmy (voiced by Anthony Hopkins). On the whole, ‘Rebel Moon – Part One: A Child of Fire’ is a flawed space opera with highly stylized action sequences but minus any emotional stakes.