epic Review of "Rebel Moon - Part One: A Child of Fire", a Netflix film directed by Zack Snyder, described as a disaster epic.

Director Zack Snyder presented Rebel Moon as a combination of the classic films Seven Samurai and Star Wars, comparing it to an impressive invention like the wheel meeting sliced bread. The former utilized the directing techniques of Akira Kurosawa to create grand battle scenes that are still considered “epic” to this day. The latter was a rare occurrence in cinema history, bringing together talented actors, sharp dialogue, and immersive production design to transform a low-budget sci-fi movie into a worldwide phenomenon. Both films are irreplaceable and cannot be recreated. After being turned down by both Lucasfilm and Warner Bros multiple times, Snyder’s ambitious project was finally picked up by Netflix, who was willing to invest in the director’s long-standing passion project.

However, the final product only vaguely displays any ambition and is hindered by a lack of effort, turning the latest CGI-filled saga to determine the fate of the universe into a mediocre experience. This 134-minute film can hardly be considered complete as it only covers the initial phase of gathering the main characters, a task that most movies in this genre accomplish within the first half hour. It will be followed by a second installment next year, raising hope that Snyder has saved the best for last and not just the anticipated epic battles that were noticeably absent in this adventure that seems more suited for a laptop screen. Longtime fans of Snyder may realize that his signature slow-motion action scenes resemble screensavers more than anything else. There is still a chance for him to add depth to his one-dimensional characters, bring life to his dull green-screened settings, and inject meaning into the unremarkable plot that ultimately leaves a sense of emptiness. However, by the end credits, it may be too much to expect viewers to return and find out what happens next.

Some film professors use Star Wars as an example to teach about Campbellian mythmaking, which is a theory that identifies and explains narrative elements that have been used since ancient Greece. Snyder shows a good understanding of these concepts in his writing, but he neglects the idea of refreshing archetypes through new contexts. The story takes place on a simple farming planet called Wherever in a distant galaxy. The main character, a Hero named Sofia Boutella, is serious and perfect in appearance, which is how Snyder typically prefers his characters. She must protect her village from an Evil Empire that rose to power after a catastrophic event in which her family was killed. The Final Boss took her in and trained her in combat, which she will use to seek revenge. However, Snyder’s heavy-handed exposition takes away from the fantasy of the story instead of immersing the audience in it.

The Mini-Boss (Ed Skrein), with his British accent and striking cheekbones, is determined to take control of her people’s grain. She and her Sidekick (played by Michiel Huisman) travel through the universe to gather supporters for their cause, including a mercenary who is selfish but charming, referred to as Not Han Solo (played by Charlie Hunnam). These characters are only briefly developed and have confusing names, made even harder to remember by the poor sound quality. Other characters have more memorable names, but they often lack meaningful significance. General Titus (Djimon Hounsou) and the squid-faced King Levitica are mentioned without explanation. Some names are simply ridiculous, like the brother-sister duo known as Blood Axe, or Skrein’s pretentious colonist named Atticus Noble.

While some of the creature designs are clever, the unique elements fail to come together to create a vibrant sense of individuality. For instance, a parasitic being controlling its human host like a puppet is found in Snyder’s version of the Mos Eisley cantina, but this rundown and dangerous location resembles a fancy sushi restaurant with its clean interior and warm lighting. Even in the face of disastrous sci-fi, there is usually something bizarre and unforgettable to appreciate, as seen in cult favorites like Jupiter Ascending and Valerian and the City of a Thousand Planets. However, Snyder’s serious tone lacks any humor, intentional or unintentional. He believed his film, which boasts an unprecedented runtime and expansive scope, would be his magnum opus. But instead of the expected exhilaration and indulgence of an artist’s wild imagination, Snyder’s descent into madness is simply dull.