Specifically, his role in The Gentlemen. He was really good in it.
His role in Pacific Rim wasn't too bad.
Rebel Moon - Star Wars But Not Star Wars
- Thread starter Breadbassket
- Start date
- Joined
- Mar 3, 2019
I was just thinking this.
This film came out and apparently it’s a giant mess. They already had toys, a prequel comic, plans for more sequels, but they can’t even get the first movie down.
A film created by Zack Snyder is like a little kid with all these random toys and creating a world from them in his head.
How he keeps managing to convince investors to give him all this money for his ideas is beyond me.
99.9% of his movies are just sad glorified fanfiction written by a grown ass men. This is also the case for most other mainstream movies and TV shows based on existing IPs for sure, but Snyder's movies are borderline stereotyping the shitty current movie/TV based on existing IPs.
- Joined
- Jan 30, 2018
He has an army of sycophants that astroturf his crap across social media and other places, and will argue with everyone that his films are actually intelligent, symbolic masterpieces. Even if they're complete garbage, that sort of engagement makes them look successful.
Just wait, there'll probably be a couple popping up in this thread to seethe.
Vect
kiwifarms.net
- Joined
- Dec 14, 2020
Just saw it, it wasn't great.
If you like Snyder's style for whatever reason, then that's really the only thing I can recommend. Otherwise, it's just like, whatever.
Even assuming that there's a Lord of the Ring's trilogy length amount of material that got cut for the Netflix release, it's got all of the wort hallmarks of Zack Snyder; a few good lines amidst hours of dull, infuriatingly cliché dialogue ("Yes, I will set you free", says the villain to a prisoner), okay shootouts and action scenes made naff with inappropriate slow motion, people with no motive or backstory, hit or miss setups, obnoxious mythological imagery, long tangents of exposition and a universe with single themed biomes - planet Gladiator, planet Blade Runner, planet Viking village, planet Desert Backwater, etc. The evil empire is a space Roman Empire, complete with pig latin names, white Corinthian architecture and a senate and royal family.
The writing, both plot and dialogue wise is unbelievable. I don't like nitpicking this stuff but it was impossible to ignore because it happened so frequently. Examples of stupidity;
- The antagonist is an admiral and a senator. He commands one capital ship.
- The overarching antagonist is introduced in a flashback as a senator, a general, and fighting alone like a common foot soldier in a universe where battles are shown to have massive casualty rates.
- The antagonist meets with the overarching antagonist, who charges him with a mission. The antagonist is literally in critical condition during this meeting and the strain of it very nearly kills him.
- The protagonist's village is at Medieval levels of technology but candlelit huts with thatched roofs have automatic sliding doors.
- At least 4 character are shown performing major defining actions, are set up with a potential character arc, then are never seen again. Again this might be due to cuts.
- The protagonist asks an entire bar full of complete strangers that has just been graced by evil empire's bounty hunters if they know where the rebellion is. One of the patrons answers truthfully. Another character reiterates their plan to launch a rebellion, in public and loudly.
- The father figure gives the protagonist a gun that he reveals he found on the ship that first brought her to their planet. The protagonist already knows this - it's her weapon and she was already an adult when she arrived on the planet. He remarks it seems 'dangerous'. She replies it is.
- The evil empire is having difficulty finding insurgent elements in this section of the galaxy. The protagonists are literally led and introduced to them with no precautions - the rebel leaders arrive with all of their forces to the location of their secret benefactor at the request of a farmer who once sold them excess food stock.
- This farmer interacts with a piece of technology he's unfamiliar with, is literally just shown how to operate it in a specific way, and does something intentionally unexpected with it to surprise the enemy.
- An alien initiates a gunfight with his friends against the protagonist, and waits until he's the last man standing to pull out his own gun.
- A child (at least 10) is dropped by an alien threatening to kill her. Despite being conscious, uninjured and the alien's attention diverted, she does not attempt to get up and flee, and another character has to risk his life to save her.
- The character fighting this alien is doing so with two energized blades - only after the the first two thirds of the fight does she actually turn them on. They work just as effectively as before.
- A character flies his spaceship through the rings of a planet with his back turned away from the cockpit. Another character on board who has never been in space before reacts like he's been given a surprise cupcake.
- The antagonist orders an aerial strike on a neutralized static target while he's still in the blast zone.
- The protagonists land at a shipyard run by an alien species that the two main characters explicitly know work for the evil empire.
- The antagonist asks a prisoner a single question, kills him by impaling him clean through the back of the skull, then has his brain "dissected' for more information.
- A character directly contradicts the information another character in the same room provides to the the antagonist, then protests that neither are trying to deceive him.
- A young recruit is threatened at gunpoint by another soldier who not only twice his size but is clearly shown to be a violent, unhinged psychopath, and proceeds to further antagonize him.
- A character is being held a prisoner in the same location as an unruly flying creature after what's implied to be at least a few years, and the protagonist wagers his freedom on him being able to mount it and fly it. Not only does the prisoner act like it's the first time he's seen it, it turns out he's been able to speak the creature's language the entire time.
- This prisoner's keeper is friends with another character who is present. The prisoner tricks the keeper into getting himself killed, and his friend doesn't react.
- A spaceship is crashing onto a floating platform, severing it in two, with one side an unsupported dead end and where the antagonist is. The protagonist, who wants to kill him, charges underneath the falling spaceship to be on the unsupported side of the platform and she and the antagonist survive only because they both landed on a smaller floating platform below that neither character knew was there. She had a gun.
- Infantry perform a mass charge into heavy enfilading gunfire Omaha Beach style after being deployed by armored air transports.
- A character is being sought after by the protagonist, a great military leader. He's turned into a street drunk, makes no decisions, gets hoodwinked and contributes almost nothing to the final battle. The overarching antagonist describes him at the end of the film as a 'genius'.
The special effects are Indiana Jones and the Kingdom of the Crystal Skull tier, with haze and overexposure and lens flare everywhere, with obvious discrepancies between character and background lighting. I get that's Zack's style but compared to films in the same genre it makes it look quite ugly and dated. Much like in Star Wars, firefights have no stakes - guns are one-shot, one-kill and main characters never get hit, their own accuracy increasing proportionally to the number of enemies in the area. In one scene, shots pierce through concrete everywhere except where the protagonist is taking cover.
There's obviously a market for a 'mature' space opera in the vein of Star Wars, but it's not going to come from this guy because he's not a mature or an imaginative director. He's not a good storyteller and he's distinctly uninterested in the human aspect of his films compared to themes and ideas and you get way too many characters that are just shallow concepts and not personalities. Space operas are universalist and depend on traditional high fantasy adventure elements, not the dark, subversive stuff he's generally better at adapting.
The writing, both plot and dialogue wise is unbelievable. I don't like nitpicking this stuff but it was impossible to ignore because it happened so frequently. Examples of stupidity;
- The antagonist is an admiral and a senator. He commands one capital ship.
- The overarching antagonist is introduced in a flashback as a senator, a general, and fighting alone like a common foot soldier in a universe where battles are shown to have massive casualty rates.
- The antagonist meets with the overarching antagonist, who charges him with a mission. The antagonist is literally in critical condition during this meeting and the strain of it very nearly kills him.
- The protagonist's village is at Medieval levels of technology but candlelit huts with thatched roofs have automatic sliding doors.
- At least 4 character are shown performing major defining actions, are set up with a potential character arc, then are never seen again. Again this might be due to cuts.
- The protagonist asks an entire bar full of complete strangers that has just been graced by evil empire's bounty hunters if they know where the rebellion is. One of the patrons answers truthfully. Another character reiterates their plan to launch a rebellion, in public and loudly.
- The father figure gives the protagonist a gun that he reveals he found on the ship that first brought her to their planet. The protagonist already knows this - it's her weapon and she was already an adult when she arrived on the planet. He remarks it seems 'dangerous'. She replies it is.
- The evil empire is having difficulty finding insurgent elements in this section of the galaxy. The protagonists are literally led and introduced to them with no precautions - the rebel leaders arrive with all of their forces to the location of their secret benefactor at the request of a farmer who once sold them excess food stock.
- This farmer interacts with a piece of technology he's unfamiliar with, is literally just shown how to operate it in a specific way, and does something intentionally unexpected with it to surprise the enemy.
- An alien initiates a gunfight with his friends against the protagonist, and waits until he's the last man standing to pull out his own gun.
- A child (at least 10) is dropped by an alien threatening to kill her. Despite being conscious, uninjured and the alien's attention diverted, she does not attempt to get up and flee, and another character has to risk his life to save her.
- The character fighting this alien is doing so with two energized blades - only after the the first two thirds of the fight does she actually turn them on. They work just as effectively as before.
- A character flies his spaceship through the rings of a planet with his back turned away from the cockpit. Another character on board who has never been in space before reacts like he's been given a surprise cupcake.
- The antagonist orders an aerial strike on a neutralized static target while he's still in the blast zone.
- The protagonists land at a shipyard run by an alien species that the two main characters explicitly know work for the evil empire.
- The antagonist asks a prisoner a single question, kills him by impaling him clean through the back of the skull, then has his brain "dissected' for more information.
- A character directly contradicts the information another character in the same room provides to the the antagonist, then protests that neither are trying to deceive him.
- A young recruit is threatened at gunpoint by another soldier who not only twice his size but is clearly shown to be a violent, unhinged psychopath, and proceeds to further antagonize him.
- A character is being held a prisoner in the same location as an unruly flying creature after what's implied to be at least a few years, and the protagonist wagers his freedom on him being able to mount it and fly it. Not only does the prisoner act like it's the first time he's seen it, it turns out he's been able to speak the creature's language the entire time.
- This prisoner's keeper is friends with another character who is present. The prisoner tricks the keeper into getting himself killed, and his friend doesn't react.
- A spaceship is crashing onto a floating platform, severing it in two, with one side an unsupported dead end and where the antagonist is. The protagonist, who wants to kill him, charges underneath the falling spaceship to be on the unsupported side of the platform and she and the antagonist survive only because they both landed on a smaller floating platform below that neither character knew was there. She had a gun.
- Infantry perform a mass charge into heavy enfilading gunfire Omaha Beach style after being deployed by armored air transports.
- A character is being sought after by the protagonist, a great military leader. He's turned into a street drunk, makes no decisions, gets hoodwinked and contributes almost nothing to the final battle. The overarching antagonist describes him at the end of the film as a 'genius'.
The special effects are Indiana Jones and the Kingdom of the Crystal Skull tier, with haze and overexposure and lens flare everywhere, with obvious discrepancies between character and background lighting. I get that's Zack's style but compared to films in the same genre it makes it look quite ugly and dated. Much like in Star Wars, firefights have no stakes - guns are one-shot, one-kill and main characters never get hit, their own accuracy increasing proportionally to the number of enemies in the area. In one scene, shots pierce through concrete everywhere except where the protagonist is taking cover.
There's obviously a market for a 'mature' space opera in the vein of Star Wars, but it's not going to come from this guy because he's not a mature or an imaginative director. He's not a good storyteller and he's distinctly uninterested in the human aspect of his films compared to themes and ideas and you get way too many characters that are just shallow concepts and not personalities. Space operas are universalist and depend on traditional high fantasy adventure elements, not the dark, subversive stuff he's generally better at adapting.
If you like Snyder's style for whatever reason, then that's really the only thing I can recommend. Otherwise, it's just like, whatever.
- Joined
- Apr 9, 2021
I watched this movie 
To say I almost died of cringe several times while soaking in this absolute garbage would be the understatement of the century.
It's just bad, so bad.
How I wish I could bash my head with a rock and selectively forget things.
To say I almost died of cringe several times while soaking in this absolute garbage would be the understatement of the century.
It's just bad, so bad.
How I wish I could bash my head with a rock and selectively forget things.
- Joined
- Jun 15, 2017
Anti-white, anti-Christian
1. lmao the oppressive government is so open-minded and meritocratic (add air quotes to taste) it promotes shitskin holes to leadership
2. this is a troon narrative, not a dindu narrative; in wokism, blacks are born righteous and whites oppressive, but it's troons who have the holy duty to redeem themselves for their shitlord past by installing themselves as leaders of the woke
Thank you for your sacrifice.
I just saw it and I've given up 15 minutes in. It was very bad. Holy fuck
Uranus Pink
kiwifarms.net
- Joined
- Mar 6, 2019
I take it I'm better off rewatching Battle Beyond the Stars instead of this?
Dickus Biggus
kiwifarms.net
- Joined
- Sep 18, 2019
Was the script made by some schizo on twitter who was writing their shitty 40k and lotr cross over fanfic?
- Joined
- Jan 30, 2018
Supposedly the project began as an actual Star Wars film. Whether Disney outright rejected Snyder or if the project was one of the many that got canned after the sequel trilogy bombed is up for debate. Regardless, Snyder likely just crossed out the overt SW names, places, titles, and the like in the script and replaced them with his own names.
- Joined
- Sep 1, 2018
- Joined
- Oct 27, 2021
- Joined
- Dec 18, 2019
My buddy who loves his work saw it. In his opinion its a poorly edited mess.
I believe it too. 90% of the time they chop his movies to shit at release. Ill wait for a directors cut.
I feel like these fuckers have it in for the man, why else in the age of streaming would you not give creative editorial freedom to release a long ass movie series?
The implication from an interview ive read, is they said they'd let him edit part 2 however he wanted as long as they did part 1. it smells like sabotage.
I believe it too. 90% of the time they chop his movies to shit at release. Ill wait for a directors cut.
I feel like these fuckers have it in for the man, why else in the age of streaming would you not give creative editorial freedom to release a long ass movie series?
The implication from an interview ive read, is they said they'd let him edit part 2 however he wanted as long as they did part 1. it smells like sabotage.
- Joined
- Apr 22, 2015
This was dog shit. Keep in mind that I liked Batman V Superman too.
namelesstacotruck
kiwifarms.net
- Joined
- Jul 9, 2020
The call went out to hate it when the politics of the movie were made very plain.
Why would people who hate that the thing they liked got pozzed want to put their dick in something pre pozzed from the beginning?
- Joined
- Mar 3, 2019
Seems that way.
The problem is that this keeps happening throughout all of Zack Snyder's filmography, and whether it's him or the execs, it's just constant sabotaging of his films. It's treating movies like video games now.
What I liked about Blade Runner 2049 is that there's only one cut. On the DVD, there's only that cut.
TheHarbinger
kiwifarms.net
- Joined
- Mar 22, 2022
The truth is that Snyder wrote a trashy and lame piece of Star Wars fan fiction. It was never formally considered by Lucasfilm nor Disney. He then pitched it to a few video game companies. They all had the same response of "We can't make this without the Star Wars license being secured first". His pitch was literally "Star Wars but R-Rated with curse words and gore". But it was never tied into Star Wars in any way.
When Snyder became more powerful in show business he decided to remove the Star Wars references from Rebel Moon and change the names. But then use the Star Wars name to promote this trash endlessly. Practically every single preview, review, and promotion piece written about Rebel Moon mentions or references Star Wars. It's literally Star Wars fan fiction that Netflix made because they have an overall deal with Snyder for his zombie films and other stuff.
- Joined
- Oct 27, 2021
I guess this shows my ignorance in The Fandom Menace since the last time I was paying attention to them they were slobbing all over Zack Snyder and the Snyder Cut.
I guess that probably was two years ago, huh?
- Joined
- May 4, 2022
Honestly, I would fucking love trashy Star Wars with gore and cursing. But I am so absolutely fucking fatigued of niggers, faggots, and ugly ethnic girlboss leads that I can't be arsed to watch it even to see how bad it is. I mean I know the writing is going to be shitty and dumb, there'll be no internal consistency, and everything will happen because the plot says it has to happen. I could forgive all that if there was a single character I gave a shit about. But there won't be, so fuck it.