The masked man will make a confession to you: he hates snails.
He’s even allergic to it, to tell you the truth. He discovered it during a family Christmas meal. Because he wanted to taste it, just to see if it was as refined as the gourmets told him. The joke. Because in the end, it mostly has the sickening taste of parsley butter accompanying the rubber of the poor boiled animal.
And instead of leaving the rest on his plate, Behind wanted to act proud and pretend he had enjoyed it. Except that this adventure ended in the emergency room, the lightning allergy having made him double in size. To the point that it was impossible for him to remove his mask.
This is the way, he lamented…
Still, the masked man won’t be seen again eating this kind of traitorous mollusk any time soon. Never again, in fact. Because he thinks he’s a sane person and he values life.
Reading the first reviews of the revamped versions of the saga Rebel Moonthe masked man thought that upon seeing Zack Snyder’s new breed, some people may have developed a gluten allergy, since it seemed to them like a ridiculous quest for two poor bags of flour demanded by operetta Nazis against a backdrop of heavy slow motion. To the point that some people, like the masked man, must have ended up in the emergency room of their cinephilia, upon seeing the murderous notes that have since become classics 300 et Sucker Punch.
What then, he thought, for those who had already had Quincke’s edema, could avoid death by inflicting the so-called versions on themselves? director’s cut the new decreed turd of US cinema.
Except no, to his great surprise.
Because some, no doubt lacking in cinephile credibility on their antisocial networks or their website (concerning supposedly professional criticism) have made up their minds Rebel Moon to tell you that it may be even worse than the first version. So they must simply not be as allergic to gluten as they say, thus hitting you once again with their deep hatred.
Because what is the point, for them, of suffering even longer, to finally repeat themselves and say that they hated it even more and thus pay for Snyder’s head a second time at little cost?
And what was the point of Netflix sacrificing millions of investments to recruit Snyder if it was to first deliver terribly amputated versions purged of any overly graphic violence, only to secretly drop the versions on the platform a few months later? director’s cut ?
And if Rebel Moon wasn’t ultimately as abominable as you’ve been told since the beginning of the year?
Let’s be clear: Rebel Moon is not the saga of renewal for Zack, that’s obvious. But it does raise the bar if we compare it to Army of the Deadfor example. Even if the versions initially exploited bore sometimes embarrassing stigmata and the scars of rough editing.
With its two versions director’s cutretitled for the occasion, the saga will not be fundamentally changed. hatersas for them, they will continue to intensely hate Snyder for what he represents in today’s industry. Too bad they limit themselves to his greed for slow motion, which is the most obvious simplistic way to denigrate his cinema.
But his long versions of Rebel Moon at least allow Zack’s universe to breathe and take shape, no longer limited to a succession of sometimes totally disconnected vignettes with a jerky rhythm.
As such, this is the first part, The Child of Firerenamed Blood Chalicewhich benefits most from the additions and modifications of the director’s cut. If it still looks like a rehash of the Odyssey of Seven Magnificentsthe film seems to finally settle down and take its time. Everything is more connected, less mechanical and forced. In the same way, some characters gain a little consistency, like the young Aris who, if he remains a secondary character, benefits from an interesting parallel with the heroine thanks to a rather well-seen new prologue allowing us to get to the heart of the subject of the war and the destruction led by the Mother World. Or the character of Jimmy, who disappeared without a trace in the first version, now leading a singular quest for liberation.
And The Child of Fire benefits fully from the reassembly and extension of its history, the gain is less obvious when it comes to The Notcherretitled The Curse of Forgiveness. Indeed, even if his confrontation is still as epic, the path to get there is a little slower without it being necessary to the plot. And the impression that some scenes concerning the work in the fields proves tenacious, even if they clearly create a parallel with the war scenes, representing all the duality of the human being, stuck between his violence and his innocence, capable of destroying and creating at the same time.
With its versions director’s cutthe diptych Rebel Moon finally acquires an intrinsic balance that it lacked. It also, and above all, retains the big kid aspect of Zack Snyder who, between the surge of violence, outrageous sprays of digital blood and other shots of nudity, tries to create an original science fiction universe from disparate pieces and more or less conspicuous borrowings. And if it does not succeed in everything it undertakes, the saga Rebel Moon however enough diverse environments, careful shots and very effective action to convince. To recall the ambitions elsewhere in the science fiction genre which irrigated at the time Jupiter, The Fate of the Universe.
Also reminding us that if Zack Snyder has one quality, it is his generosity. A generosity that we would have liked to see on the big screen and not sacrificed by a streaming platform…
Behind_the_Mask, for whom the moon is not necessarily in the gutter.
