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‘3 Body Problem’ Is One Great Big Miss

By Alan Sepinwall

Alan Sepinwall

For years, fans of George R.R. Martin’s A Song of Ice and Fire fantasy series believed the books simply couldn’t be adapted to the screen. There were too many characters, spread across multiple continents, in stories that would take years to intersect. And much of the plot was inspired by events that took place decades, if not centuries, before the contemporary action. It was an impossible task, everyone assumed. No one could do that.

Then David Benioff and D.B. Weiss actually did it. HBO’s Game of Thrones was a global smash, made on an epic scale that no one had ever imagined TV could achieve. Benioff and Weiss had to streamline Martin’s sprawling narrative here and there, but for the most part were able to satisfy both readers and non-readers — until, at least, the bumpy last two seasons, and the disastrous series finale, which some have blamed on creative burnout and others on the showrunners no longer having Martin’s books to refer to(*).

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(*) Though several of the actors are either from China or of Chinese descent, the shift in geographic orientation will be extreme to anyone who’s read the books. At one point, one of the Chinese-British characters is asked about an old Sun Tzu saying; he shrugs and says, “I don’t know. I’m from Manchester.”

None of these characters have the depth or vibrancy of almost anyone from Westeros, but all of them feel like actual people, and are played by an excellent ensemble. Simply injecting a small amount of humanity into the story works wonders throughout. There’s still a fair amount of time spent inside the VR game, for instance, but those scenes are much less tedious here, because Jin is the primary player, and Jess Hong makes palpable the pleasure Jin takes at being inside this bizarre virtual construct. (In addition, Jack eventually gets to join her, and John Bradley is good for a welcome amount of comic relief.) Clarence and Wade, meanwhile, could exist entirely to move the story along — especially since each of them possesses a level of authority that seems to transcend all barriers of nation or class — but Wong and Cunningham find ways to make each of them feel like they existed long before they got thrust into these roles.

No matter how much the creators spruce up the edges, though, they can’t do much with the abstraction at the heart of the story. The aliens, we are repeatedly told, are about 450 years away, by which point everyone currently on planet Earth, and any children, grandchildren, or great grandchildren they might have, will be long dead. (Well, almost everyone; this is science fiction, after all, and there are ways for people to still be around long after they should be six feet under.) Various characters wonder why anyone should care about something that won’t affect them or anyone they might ever care about, while others like Wade insist they owe it to future generations, even that far into the future. You can read it as a metaphor for climate change, especially since Ye Wenjie finds great inspiration in Silent Spring , Rachel Carson’s groundbreaking book about the damage that humanity is doing to the natural world. But as a work of dramatic fiction, 3 Body Problem never makes a compelling enough argument for why its central quintet would be invested in this — and, thus, why the audience should be.

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At one point, one of the members of the conspiracy is surprised to realize that the aliens don’t understand the concept of lying. He attempts to connect it to fiction, only to realize they also don’t understand storytelling. Benioff, Weiss, and Woo all have a very clear understanding of storytelling. There’s just only so much they can do to find a way to make this particular story interesting in their medium of choice.

All eight episodes of 3 Body Problem begin streaming on Netflix on March 21. I’ve seen the whole season.

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‘3%’ is one of Netflix’s biggest shows—but is it any good?

The brazilian sci-fi series is one of the world's most popular..

Eddie Strait

Posted on Jan 2, 2018 Updated on May 22, 2021, 6:23 am CDT

Netflix last month released some viewership statistics and the Brazilian sci-fi series 3% turned out to be one of 2017’s most popular binges in the world. It ranked No. 2 on the list of “most devoured” shows, meaning most people watched at least two hours of it per sitting. That put it ahead of buzzy and controversial smash Thirteen Reasons Why . Yet seemingly few Americans have seen or heard of it. What were you missing? Not much, as it turns out.

I reached my breaking point with 3% halfway through the show’s eight-episode first season. 3% is what you get if you take Lost and strip away everything that made the story of the Island and the castaways interesting. The biggest mystery surrounding the show is how this series, created by Spanish filmmaker Pedro Aguilera, rose to the top of the streaming crop when Netflix has so many better offerings.

The show is set in a dystopian future where the population goes through “the Process” in hopes of making it through, where upon completion they are granted access to “the Offshore,” while everyone else is condemned to the poverty and struggle of “the Inland.” The Process amounts to watching teens and 20-somethings tackle brainteasers and stress tests to weed out the 97 percent. There’s more going on, with the overseers of the Process wrapped up in some kind of conspiracy. The show slow-plays the macro plot to the point of frustration. In the moment some of the challenges are kind of interesting. Groups are presented with a dinner scene staged with mannequins and have to deduce what event they’re seeing. In another, they must run through dark corridors while the air fills with gas that makes everyone hear voices and grow paranoid.

Each episode spotlights a different character and tells their backstory via flashbacks. We have Fernando, confined to a wheelchair and determined to make it through the Process; Marco, the entitled son of a family that always makes it through the Process; Moana, an orphan who grew up on the streets. The characters are diverse in their circumstance, but they are united and weakened by dull writing.

The show is obviously setting up a long-term payoff by the way the story is structured, but playing coy with the details ends up burning the creative team because none of it is particularly compelling. At eight episodes, with more on the way, it’s an easy binge. If you get bored and frustrated with 3% like I did, you won’t feel bad cutting your losses.

Still not sure what to watch on Netflix? Here are our guides for the absolute best movies on Netflix , must-see Netflix original series and movies , and the comedy specials guaranteed to make you laugh.

Eddie Strait is a member of the Austin Film Critic Association. His reviews focus primarily on streaming entertainment, with an emphasis on Netflix, Hulu, Amazon Prime, and other on-demand services.

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The Equalizer 3

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Watch The Equalizer 3 with a subscription on Netflix, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

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Another entertaining outing from Antoine Fuqua and Denzel Washington, The Equalizer 3 mostly makes up for its formulaic story with generous helpings of cathartic action.

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3 body problem review: netflix's new, immersive sci-fi epic might be its next flagship series.

Netflix's 3 Body Problem succeeds in creating an expansive world filled with intriguing mysteries, delivering both personal moments and spectacle.

Netflix's 3 Body Problem offers a complex, engaging story with high stakes.
The series challenges viewers with dense science and deep emotional moments.
The series boasts a strong ensemble cast with standout performances by Liam Cunningham and Benedict Wong.

There are many moving parts in Netflix's 3 Body Problem , but the series manages to make them all work, creating a complex, rich tapestry of events that make up an excellent first season for this sci-fi epic. The final seasons of Game of Thrones saw a quality dip from the series' heyday, and while some might be on the fence about watching 3 Body Problem due to how showrunners David Benioff and D.B. Weiss handled Game of Thrones ' ending , the pair, alongside 3 Body Problem 's third showrunner, Alexander Woo, deliver a masterful journey into sci-fi with Netflix's new series.

3 Body Problem is a Netflix original series from Game of Thrones creators David Benioff and D.B. Weiss, along with Alexander Woo. Based on the novel of the same name by Liu Cixin, 3 Body Problem centers on a detective who joins forces with a group of scientists after an unknown force begins killing scientists around the world.

The Netflix series presents plenty of twists and turns
3 Body Problem's stakes are as high as they can be
A well-rounded ensemble grounds the sci-fi series
VFX looks wonky at times
Some supporting characters get lost amid an expansive cast

3 Body Problem is an adaptation of the first book in author Liu Cixin's "Remembrance of Earth's Past" series. The Netflix show carries the name of the first book in the writer's acclaimed series of novels: The Three-Body Problem . As they showed during their time on Game of Thrones , Benioff and Weiss excel at adapting existing source material into must-watch TV. With True Blood 's Woo helping bring the Netflix series to life, 3 Body Problem succeeds in telling a story with time and space ramifications that leaves you questioning what it really means to be human.

It pushes the audience to truly get lost in the series' world and try to understand the sheer magnitude of the events presented by the show.

3 Body Problem Manages To Make A Complex Story Exciting Without Dumbing It Down

A lot of movies and series these days try to make things exceptionally obvious for viewers to understand. While Netflix's latest major release could have easily opted to follow that path, as 3 Body Problem 's story is dense and deals with a lot of scientific elements and dialogue, the series challenges its audience to keep up with the many geniuses at work on the screen. 3 Body Problem is made better for it, as it pushes the audience to truly get lost in the series' world and try to understand the sheer magnitude of the events presented by the show.

3 Body Problem introduces a series of mysteries throughout its first season, with twists and turns that keep the story engaging and make the audience fear for the show's core cast of characters at all times. While the series is deeply embedded in the sci-fi realm, inherent human emotions such as love, fear, and the need to try to understand where we belong in the world help keep 3 Body Problem 's expansive ideas grounded in a sense of realism. The show's more quiet moments are just as engrossing as its major set pieces.

3 Body Problem

The Netflix series does fail in the VFX department at times, though most of the effects range from serviceable to visually astonishing. 3 Body Problem 's more action-oriented elements work well and serve to showcase the urgency of the story's stakes. The show hinges on a group of scientists in the present who suddenly find themselves affected by one woman's decision in 1960s China . With a strong ensemble cast, the sci-fi epic manages to give each of its core characters their time to shine, with some players specifically becoming standouts.

Liam Cunningham & Benedict Wong Are 3 Body Problem's Stars

The netflix series' cast delivers as a strong ensemble..

3 Body Problem features a great roster of characters, with two timelines informing the series' events. In the present, a group of tight-knit scientists serve as the main players in the series — Jovan Adepo as Saul Durand, John Bradley as Jack Rooney, Eiza González as Auggie Salazar, Jess Hong as Jin Chen, and Alex Sharp as Will Downing. All the characters get their chance to shine, going from the series' background to the foreground, and vice versa, as the story moves along.

While that helps rotate the focus of the story on what is truly an ensemble show, some characters end up being cast aside after the series had already done the work to make them matter. González's Auggie has a depth to her that many of the actresses' other roles had not yet shown so far, allowing the star to shine in key moments. That said, Hong's Jin Chen might be the best character out of the series' main group, with the actress delivering an emotional performance that helps propel the series to new heights.

While 3 Body Problem has an incredible ensemble cast, there are two stars who stand out throughout the season. Liam Cunningham takes control of every scene he is in as the to-the-point Thomas Wade, who wastes no time letting what he thinks get across and does so with captivating flair. Benedict Wong, most famously known as the Marvel Cinematic Universe's current Sorcerer Supreme , also delivers a compelling turn as the unorthodox Da Shi. After a season of major reveals and strong character development, 3 Body Problem 's ending will likely leave viewers wanting season 2 instantly.

All 8 episodes of 3 Body Problem will be available to stream on Netflix on March 21.

› Streaming Movies & TV

Benedict Wong and Liam Cunningham Talk Netflix Series '3 Body Problem'

Moviefone speaks with Benedict Wong and Liam Cunningham about '3 Body Problem'. "Our showrunners are very good at formulating a character," Cunningham said.

Premiering on Netflix March 21st is the new series ‘ 3 Body Problem ,’ which is based on the popular Chinese novel ‘The Three-Body Problem’ by author Liu Cixin and was created by ‘ Game of Thrones ’ co-creators David Benioff and D. B. Weiss , and Alexander Woo (‘ True Blood ’).

The series stars Benedict Wong (‘ Doctor Strange ’), Jovan Adepo (‘ Babylon ’), Eiza González (‘ Ambulance ’), Jonathan Pryce (‘ The Two Popes ’), and Liam Cunningham (‘ The Last Voyage of the Demeter ’).

(L to R) Benedict Wong and Liam Cunningham talk '3 Body Problem'.

Moviefone recently had the pleasure of speaking with Benedict Wong and Liam Cunningham about their work on '3 Body Problem', the book the series is based on, how they approached playing their characters, and shooting the game sequence.

You can read the full interview below or click on the video player above to watch our interviews with Wong and Cunnigham, as well as Jess Hong, Jovan Adepo, John Bradley, Alex Sharp, Rosalind Chao and Zine Tseng.

What is the Plot of ‘3 Body Problem’?

Ye Wenjie (Rosalind Chao) is an astrophysicist who saw her father brutally murdered during the Chinese Cultural Revolution. Later, she was conscripted by the military because of her scientific background and sent to a secret radar base in a remote region. Her fateful decision at the base echoes across space and time to a group of scientists in the present day, forcing them to face humanity's greatest threat.

Who is in the Cast of ‘3 Body Problem’?

Benedict Wong as Da Shi
Jess Hong as Jin Cheng
Jovan Adepo as Saul Durand
Eiza González as Augustina "Auggie" Salazar
John Bradley as Jack Rooney
Alex Sharp as Will Downing
Rosalind Chao as adult Ye Wenjie
Jonathan Pryce as Mike Evans
Liam Cunningham as Wade

Sea Shimooka as Sophon in '3 Body Problem.'

Movies Similar to ‘3 Body Problem':

' Enter the Dragon ' (1973)
' The NeverEnding Story ' (1984)
' DragonHeart ' (1996)
' Crouching Tiger, Hidden Dragon ' (2001)
' Kill Bill: Vol. 1 ' (2003)
' Kill Bill: Vol. 2 ' (2004)
' Eragon ' (2006)
' Cloud Atlas ' (2012)
' The Martian ' (2015)
' Game of Thrones The IMAX Experience ' (2015)
' Doctor Strange ' (2016)
' Crazy Rich Asians ' (2018)
' Avengers: Infinity War ' (2018)
' Avengers: Endgame ' (2019)
' Raya and the Last Dragon ' (2021)
' Shang-Chi and the Legend of the Ten Rings ' (2021)
' Spider-Man: No Way Home ' (2021)
' Everything Everywhere All at Once ' (2022)
' Doctor Strange in the Multiverse of Madness ' (2022)

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'the beast' jumps from 1910, to 2014, to 2044, tracking fear through the ages.

Justin Chang

Gabrielle and Louis (Léa Seydoux and George MacKay) meet in 1910 Paris, 2014 Los Angeles and again in 2044 in The Beast . Carole Bethuel/Kinology hide caption

Gabrielle and Louis (Léa Seydoux and George MacKay) meet in 1910 Paris, 2014 Los Angeles and again in 2044 in The Beast .

There's no easy way to sum up the work of the brilliant and maddening French writer-director Bertrand Bonello. In recent years, he's made a zombie thriller rooted in Haitian voodoo lore and an unconventional biopic of Yves Saint-Laurent. His most controversial title, Nocturama , is a hangout movie about a group of French youth carrying out terrorist attacks around Paris. Bonello's films have a unique way of blurring the intellectual and the aesthetic: Their gorgeous surfaces are often loaded with troubling and provocative ideas.

His latest movie is called The Beast , and it's one of the best and least classifiable things he's ever done. It's a wildly original adaptation of the 1903 Henry James novella The Beast in the Jungle , about a man who dwells in a constant state of fear.

James' story is a cautionary tale about the dangers of being too cautious, of not embracing life and love to the fullest. Bonello takes this premise and spins it in several unexpected directions. First, he recasts the hesitant protagonist as a woman, named Gabrielle, played by the wonderful Léa Seydoux. Then he positions her in three different stories, set in three time frames, and suffused with elements of horror, mystery and science fiction. It's easier to follow than it sounds: Even when it's not entirely clear where or when we are, Bonello's filmmaking is so hypnotic, and Seydoux's performance so subtly mesmerizing, that you can't help getting caught up in the flow.

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The first story is the one that most closely resembles the novella. It's 1910, and Gabrielle is a renowned pianist who has a run-in at a Paris salon with a gentleman named Louis, played by the English actor George MacKay. In a setup that evokes the confounding 1961 classic Last Year at Marienbad , Gabrielle and Louis seem to vaguely recall having met before. There's a clear attraction between them, but Gabrielle, who's married, resists pursuing it. Her restraint will cost her in a climax that coincides with a real-life Parisian catastrophe, the Great Flood of 1910.

'Saint Laurent,' A Radical Man Of Fashion

The second story takes place in Los Angeles in 2014, and has some of the eerie menace of David Lynch 's masterpiece Mulholland Dr. Gabrielle is now an aspiring model and actor who's been housesitting for a wealthy Angeleno. Rattled by a violent earthquake one morning, she steps outside and runs into Louis, who's now a deeply disturbed incel who's been posting misogynist video rants online.

MacKay is utterly terrifying as this Louis, who's modeled on a man who killed six people in 2014 in Isla Vista, Calif. What makes this second segment so chilling is that, unlike in the novella, the protagonist's fear is not unfounded. The beast stalking Gabrielle is all too real.

The third story is the most elusive and intriguing. It's set in 2044, when the world is run by AI. Gabrielle plays a human who, to join the work force, must undergo a process that will rid her of her emotions. This segment, with its shades of Eternal Sunshine of the Spotless Mind , explains the framework of the entire movie: It turns out that the 1910 and 2014 sections are remnants of Gabrielle's past lives, now being purged from her subconscious.

Bonello doesn't tell the stories one at a time; he jumps around and among them. He's tracking the sources of human alienation and anxiety through the ages, asking why, in every era, we find ways to disengage from life and the people around us. The movie is especially insightful about how technology evolves. Each chapter features an artificial human companion of sorts: a line of baby dolls in 1910, a talking doll in 2014, a robot friend in 2044. Along the way, Bonello also asks questions about the future of movies, a medium so overrun with CGI that it's become harder to tell what's real from what isn't.

As grim as The Beast sounds, it isn't entirely pessimistic about the state of the world. I left the movie feeling disturbed but also enthralled, and strangely reassured by Seydoux's presence in all three stories. The futuristic Gabrielle may have to divest herself of her feelings, but Seydoux's emotions are always within reach. The more unreal her surroundings become, the more hauntingly human her performance feels.

‘Creed III’ Review: Michael B. Jordan Directs and Stars in a Rock-Solid Sequel That’s Closer to ‘Cape Fear’ Than ‘Rocky’

In a sports drama that feels like a thriller, Jonathan Majors once again proves his mettle as Adonis' ominous friend-turned-boxing-foe.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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From the moment he appears, leaning with louche entitlement against Adonis’s vehicle, Majors plays Dame with a surface amiability cut with a passive-aggressive prickliness that’s there in everything he says. He wants help and support — a leg up and a powerful friend to give it to him. And Adonis is onboard with that; he wants to help. But already we can see the sign of something — that “Creed III” isn’t just going to be a boxing movie. It’s going to be a hostile-tormenter movie, like “Cul-de-Sac” or “The Gift” or the granddaddy of them all, the original 1962 “Cape Fear.”

Dame, like Robert Mitchum in that movie (or Robert De Niro in Scorsese’s 1991 remake), is a convict who feels he was wronged, and he has returned to toy with the man he thinks was responsible. Why, he wants to know, did Adonis not return his letters from prison? (Because, Adonis says, he didn’t receive them.) Oh, and by the way, Dame mentions that he’d like a shot at the title. Is this a dream or a threat, or both?

In “Creed III,” Majors has an imperious squint and a rapid way of talking, as if Dame were throwing away his words to brood on their hidden meaning. His most casual sentence stings like a tiny punch. When he sits opposite Adonis in a diner, relishing his first restaurant meal in years, he’s having a “friendly” chat but he’s also saying, “This conversation isn’t real.” Majors exudes a danger that electrifies the air around him, and his Dame is a master of manipulation. He guilt-trips Adonis into letting him train at the gym, and once he’s got his foot in the door, he becomes the sparring partner of Felix. The film then turns ominous at a record-release party where the sudden return of Viktor Drago (Florian Munteanu) opens the door to Dame getting his title shot, in a champ-vs.-a-nobody bout that echoes the one in “Rocky.” And who do you think he’s going to want to fight next?

Jordan, working from a script by Keenan Coogler and Zach Baylin (the story is by Ryan Coogler, who also serves as a producer), shows dramatic finesse in his staging of the Adonis/Dame relationship, showcasing it as a broken brotherhood that speaks to larger disruptions — the tug between loyalty and violence in dispossessed childhoods. “Creed III” is a sports drama that feels like a thriller with an urgent conscience. It’s a far more dynamic movie than the proficient but formulaic “Creed II,” even if it can’t match the soulful filmmaking bravura of the first “Creed.”

Reviewed at Park Ave. Screening Room, Feb. 17, 2023. MPA rating: PG-13. Running time: 116 MIN.

Production: A United Artists Releasing release of a Metro-Goldwyn-Mayer Pictures, Chartoff-Winkler production, in association with Proximity Media, Outlier Society. Producers: Irwin Winkler, Charles Winkler, William Chartoff, David Winkler, Ryan Coogler, Michael B. Jordan, Elizabeth Raposo, Jonathan Glickman, Sylvester Stallone. Executive producers: Sev Ohanian, Zinzi Coogler, Nicolas Stern, Adam Rosenberg.
Crew: Director: Michael B. Jordan. Screenplay: Keenan Coogler, Zach Baylin. Camera: Kramer Morgenthau. Editors: Jessica Baclesse, Tyler Nelson. Music: Joseph Shirley.
With: Michael B. Jordan, Tessa Thompson, Jonathan Majors, Wood Harris, Phylicia Rashad, Mila Davis-Kent, Jose Benavidez, Florian Munteanu, Thaddeus J. Mixson, Spence Moore II.

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3 idiots — film review.

Three brainy misfits -- Farhan (R. Madhavan), Raju (Sharman Joshi) and Rancho (Aamir Khan) -- find a common bond when they realize that their futures aren't exactly inscribed in a mathematics book.

By Lisa Tsering , The Associated Press December 29, 2009 11:45am

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OAKLAND — “Life is a race: If you’re not fast enough, you’ll get trampled,” booms engineering college dean Viru Sahastrabudhhe (Boman Irani). The stakes are high: in India 2.0, students whose parents have sacrificed everything for their education are expected to reach the top. But three brainy misfits — Farhan (R. Madhavan), Raju (Sharman Joshi) and Rancho (Aamir Khan) — find a common bond when they realize that their futures aren’t exactly inscribed in a mathematics book.

Written and directed by Rajkumar Hirani, whose two previous films also tweaked Indian sensibilities with great commercial and critical success, “3 Idiots” has dominated at the boxoffice this holiday season. In India, the Reliance Big Pictures release collected more than 1 billion rupees ($21.3 million) in its first four days of release.

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‘Civil War’: What you need to know about A24’s dystopian action movie

Kirsten Dunst holds a camera in her lowered hand while another hangs off her backpack in "Civil War."

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A24’s “Civil War,” the latest film from “Ex Machina” and “Men” director Alex Garland , imagines a third-term president ruling over a divided America and follows the journalists driving through the war-torn countryside on a mission to land his final interview. The movie is pulse-pounding and contemplative, as the characters tumble from one tense encounter to the next and ruminate on the nature of journalism and wartime photography.

In his review of the film, The Times’ Joshua Rothkopf wrote, “‘Civil War’ will remind you of the great combat films , the nauseating artillery ping of ‘Saving Private Ryan,’ the surreal up-is-down journey of ‘Apocalypse Now.’ It also bears a pronounced connection to the 2002 zombie road movie scripted by its writer-director Alex Garland, ‘28 Days Later.’”

Starring Kirsten Dunst and Cailee Spaeny as photojournalists, alongside Wagner Moura and Stephen McKinley Henderson (and a scene-stealing, nerve-racking Jesse Plemons ), the film carries a reported production budget of $50 million and has already started to recoup the costs at the box office, earning $25.7 million in ticket sales in its first weekend in North America.

“Civil War” has also been a discourse juggernaut. Conversation on social media has focused on the lack of context given for the conflict at the heart of the film. In a recent column, The Times’ Mary McNamara wrote that “forcing the very real political divisions that plague this nation into vague subtext doesn’t even serve the purported pro-journalism nature of ‘Civil War.’”

Catch up on our coverage of the film below.

Review: ‘Civil War’ shows an America long past unraveling, which makes it necessary

Starring Kirsten Dunst and Cailee Spaeny as journalists chronicling a war at home, writer-director Alex Garland’s action film provokes a shudder of recognition.

April 11, 2024

Los Angeles, CA - April 02: Kirsten Dunst and Cailee Spaeny pose for a portrait as they promote their new film, "Civil War," at Four Seasons Beverly Hills on Tuesday, April 2, 2024 in Los Angeles, CA. (Jason Armond / Los Angeles Times)

Kirsten Dunst and Cailee Spaeny on the nightmarish ‘Civil War’: ‘No nation is immune’

Writer-director Alex Garland’s controversy-courting political fable about a violently divided America brings together two generation-defining actors.

April 4, 2024

Kirsten Dunst, left, and Cailee Spaeny in 'Civil War'

What ‘Civil War’ gets right and wrong about photojournalism, according to a Pulitzer Prize winner

Carolyn Cole, a veteran L.A. Times photographer who won a Pulitzer Prize for her coverage of civil war in Liberia, breaks down the depiction of her profession in A24’s ‘Civil War.’

April 16, 2024

Actors Kirsten Dunst and Jesse Plemons arrive for "Civil War" special screening

Inside the most unnerving scene in ‘Civil War’: ‘It was a stunning bit of good luck’

With a deeply disturbing turn by Jesse Plemons, one scene in “Civil War” encapsulates the film’s combustible political balancing act. It almost didn’t happen.

April 12, 2024

In trying to hedge its politics, ‘Civil War’ betrays its characters — and the audience

Alex Garland’s powerful war drama is ostensibly a tribute to the fourth estate. But the film is absent the examination of causes and consequences central to great journalism.

April 15, 2024

Two women with press helmets and vests crouch to take a photo in a scene from "Civil War."

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After ‘Civil War’ and mainstream success, can indie darling A24 keep its cool?

‘Civil War’s’ overperformance at the box office proves that A24’s brand is strong enough to open a divisive $50-million about a dystopian America.

This image released by A24 shows Kirsten Dunst in a scene from "Civil War." (Murray Close/A24 via AP)

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8 New Movies Our Critics Are Talking About This Week

Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about even if you’re not planning to see them.

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By The New York Times

A vampire flick with a familiar bite.

A girl with vampire-like teeth screams into the camera.

A group of bumbling criminals kidnap a young girl and hold her for ransom, but the titular 12-year-old ballerina turns out to have more than just tulle up her sleeve.

From our review:

A cheerfully obvious splatterthon, the new horror movie “Abigail” follows a simple, time-tested recipe that calls for a minimal amount of ingredients. Total time: 109 minutes. Take a mysterious child, one suave fixer and six logic-challenged criminals. Place them in an extra-large pot with a few rats, creaking floorboards and ominous shadows. Stir. Simmer and continue stirring, letting the stew come to a near-boil. After an hour, crank the heat until some of the meat falls off the bone and the whole mix turns deep red. Enjoy!

In theaters. Read the full review .

Less-than-glorious “basterds.”

‘the ministry of ungentlemanly warfare’.

Based on a true story of an (until recently) unknown World War II operation, this film features some ungentlemanly types who are tasked with cutting off Germany’s resources by sinking their supply ships.

“The Ministry of Ungentlemanly Warfare,” the latest offering from the director Guy Ritchie, is a perfect airplane movie. That is not a compliment, but it’s not exactly a dis. Some movies shouldn’t be watched on planes — slow artful dramas, or movies that demand concentration and good sound (please do not watch “ The Zone of Interest ” on your next flight). But you’ve got to watch something, and for that, we have movies like this one.

Like if Dorothy Gale was your Uber driver.

‘the stranger’.

In this thriller, originally released as 13 short-form episodes on the streaming service Quibi, the indie-film scream queen Maika Monroe plays a Los Angeles transplant fresh from Kansas who works as a ride-hail driver who must face off against a murderous passenger.

The recut version (on Hulu) bears little trace of its earlier form, although its life span across algorithm-driven streaming companies does cast the villain’s tech preoccupations — “whoever figures out the mathematical formula determining the losers and the winners in life will rule” the world, he declares — in a new, meta light.

Watch on Hulu . Read the full review .

A queer period piece — but the period is summer 2020.

‘stress positions’.

After New York goes on lockdown, Terry (John Early) clashes with the other tenants of the brownstone he shares with his soon-to-be-ex-husband.

If some of the points seem muddy, the filmmaking is expressive and deliberate. With shimmer, shadow and verve, “Stress Positions” — which recently closed the New Directors/New Films festival — captures the often hallucinatory pandemonium wrought by that “long-ago” moment.

The prince and the pauper fall in love.

Ryuta (Hio Miyazawa) is a personal trainer with an ailing mother, a big secret and no cash. Can a romance with a wealthy magazine editor fix his problems, or do their differences doom their relationship from the start?

Class is the central theme in “Egoist”: Kosuke and Ryuta’s star-crossed romance shows us how money, and the struggle to make ends meet, can complicate even the most genuine love. But as the film leans into melodrama, it loses both its friction and frisson, and a steaming-hot premise turns into something cold to the touch.

There’s always one more “one last job.”

‘blood for dust’.

Seventeen months after a theft scheme goes horribly wrong, two former colleagues-in-crime reunite for a drug-running operation.

Directed by Rod Blackhurst, “Blood for Dust” is a throwback, in the sense of being exceedingly familiar. An early shot of a snow-covered parking lot inevitably evokes “Fargo,” but “Blood for Dust” doesn’t have a witty line or a glimmer of humor. The climactic shootout is so dimly lit that it’s difficult to discern who is firing at whom. It’s easy enough to guess.

In theaters and available to rent or buy on most major platforms . Read the full review .

A private world of childhood friendship, ruptured.

‘we grown now’.

Two young boys, residents of the Cabrini-Green public housing development in Chicago, confront harsh realities while also chasing whimsy (including an excursion to the Art Institute of Chicago).

You’re immediately invested in Malik and Eric, who together have formed a private world that, like the museum, exists apart from real life, its pressures and its dangers. The sound design is particularly effective at conveying the little bubble that the children have created for themselves. The babble of outside voices and music in Cabrini never seems to stop flowing, but you never really hear what anyone says.

Zack Snyder serves up a chaotic stew of references.

‘rebel moon — part two: the scargiver’.

The second half of Zack Snyder’s space opera follows a group of interplanetary warriors as they attempt to defeat an imperial army.

The script by Snyder, Kurt Johnstad and Shay Hatten trips over its aspirations whenever any character talks. There’s not a single authentic conversation, just exposition dumps and soliloquies. Finally, after an hour of speeches, we’re treated to an hour of rousing warfare. Primal, pitiless, agonizing carnage is where Snyder excels. He’ll kill anyone, even nice people, even grandmothers-turned-guerrilla warriors who just want to get back to folk dancing.

Watch on Netflix . Read the full review.

Explore More in TV and Movies

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As “Sex and the City” became more widely available on Netflix, younger viewers have watched it with a critical eye . But its longtime millennial and Gen X fans can’t quit.

Hoa Xuande had only one Hollywood credit when he was chosen to lead “The Sympathizer,” the starry HBO adaptation of a prize-winning novel. He needed all the encouragement he could get .

Even before his new film “Civil War” was released, the writer-director Alex Garland faced controversy over his vision of a divided America with Texas and California as allies.

Theda Hammel’s directorial debut, “Stress Positions,” a comedy about millennials weathering the early days of the pandemic , will ask audiences to return to a time that many people would rather forget.

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings on Netflix , Max , Disney+ , Amazon Prime and Hulu to make choosing your next binge a little easier.

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3 Movie Review

Times Of India

Story: School student Ram (Dhanush) falls in love with Janani (Shruti), who is also a Class XII student, and woos her through college. When her family decides to move to the US, she burns her passport because she can’t bear to live without Ram. They get married finally, but will they live happily ever after? Movie Review: Dhanush is one of those rare actors in Indian cinema who is at home playing a school student and also a businessman battling his inner demons (as he does in “3”) or a young salesman searching for his bike (in “Polladhavan”) or a uneducated rustic who only knows how to breed and fight roosters (in “Aadukalam”, which fetched him his first national award for acting). An actor at the peak of his craft, he doesn’t break a sweat while portraying the two extremes of Ram, though his performance as a schoolboy in love is more entertaining and watchable than the changeover into a married man in the second half.

Shruti Haasan does a very good job as a schoolgirl, with her shy countenance and demure looks. Though dialogue delivery lets her down in some scenes, her work in “3” is a good example of her growing maturity as an actor in her second performance in Tamil after “7 Aum Arivu”. Sivakarthikeyan is a roar, and keeps the laughs coming in the first half. He is sorely missed in the second half when the screenplay takes a turn for the serious. Sunder Ramu as Senthil, a friend of Ram, has sadly nothing new to offer, his role being very similar to the one he played in “Mayakkan Enna”. Veterans Prabhu, Bhanupriya and Rohini are also sadly underused, though they shine in the limited scope offered to them. Composer Anirudh shows that there is more to him beyond “Kolaveri”, which unfortunately will be the main reason to drag the audiences into the theatres. “Kannazhaga” (Shruti and Dhanush) and “Po nee po” (Mohit Chauhan and Anirudh) are sure to find repeat listeners among the discernable audiences.

Aishwarya R Dhanush shows sparks of brilliance in her directorial debut, and marks herself as a name to look out for in Tamil cinema. She establishes her credentials in the first scene itself, when she shows people grieving over a dead body (a rarity in Tamil cinema), and displays a commendable grasp over the medium. Though uneven in her treatment of a sensitive subject (which can be easily attributed to lack of experience), she comes out with a fairly engaging movie, though it does portray shades of characters seen in recent Tamil movies. Besides the opening scenes, a couple of others are worth a mention – Dhanush’s interaction with his father (played by Prabhu) and the way Rohini examines her daughter (Shruti) the first time she meets her after her marriage.

What is irking is the way Janani’s kid sister, who we are told is born with a hearing impairment, suddenly starts speaking, and the “message ending” after a slightly tedious second half. Why this kolaveri?

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Dhanush is one of those rare actors in Indian cinema who is at home playing a school student and also a businessman battling his inner demons (as he does in "3") or a young salesman searching for his bike (in "Polladhavan") or a uneducated rustic who only knows how to breed and fight roosters (in "Aadukalam", which fetched him his first national award for acting). An actor at the peak of his craft, he doesn't break a sweat while portraying the two extremes of Ram, though his performance as a schoolboy in love is more entertaining and watchable than the changeover into a married man in the second half. Shruti Haasan does a very good job as a schoolgirl, with her shy countenance and demure looks. Though dialogue delivery lets her down in some scenes, her work in "3" is a good example of her growing maturity as an actor in her second performance in Tamil after "7 Aum Arivu". Sivakarthikeyan is a roar, and keeps the laughs coming in the first half. He is sorely missed in the second half when the screenplay takes a turn for the serious. Sunder Ramu as Senthil, a friend of Ram, has sadly nothing new to offer, his role being very similar to the one he played in "Mayakkan Enna". Veterans Prabhu, Bhanupriya and Rohini are also sadly underused, though they shine in the limited scope offered to them. Composer Anirudh shows that there is more to him beyond "Kolaveri", which unfortunately will be the main reason to drag the audiences into the theatres. "Kannazhaga" (Shruti and Dhanush) and "Po nee po" (Mohit Chauhan and Anirudh) are sure to find repeat listeners among the discernable audiences. Aishwarya R Dhanush shows sparks of brilliance in her directorial debut, and marks herself as a name to look out for in Tamil cinema. She establishes her credentials in the first scene itself, when she shows people grieving over a dead body (a rarity in Tamil cinema), and displays a commendable grasp over the medium. Though uneven in her treatment of a sensitive subject (which can be easily attributed to lack of experience), she comes out with a fairly engaging movie, though it does portray shades of characters seen in recent Tamil movies. Besides the opening scenes, a couple of others are worth a mention - Dhanush's interaction with his father (played by Prabhu) and the way Rohini examines her daughter (Shruti) the first time she meets her after her marriage. What is irking is the way Janani's kid sister, who we are told is born with a hearing impairment, suddenly starts speaking, and the "message ending" after a slightly tedious second half. Why this kolaveri?

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Abigail review – Dracula’s daughter gets kidnapped in fun-sucking horror

There’s some low-stakes pleasure to be had in the first half of the gory new film from the team behind Ready or Not and Scream but things fall apart disastrously

L ast year’s handsome gothic horror The Last Voyage of the Demeter and bombastic Nic Cage comedy Renfield allowed Universal the opportunity to present known IP as something fresh, at least on the surface, stories involving Dracula but told in ways we hadn’t seen before. They represented a nifty marketing strategy for a back catalogue of classic monster movies but both worked better as loglines than finished films – Dracula on a boat, Dracula as a bad boss – and audiences proved as uninterested as critics, the stench of old property distracting from the promise of something new.

As the studio preps a new take on The Wolf Man with next year’s Christopher Abbott-led Wolfman and Robert Eggers’ remake of the Dracula-inspired Nosferatu, here comes Abigail, a poppy reimagining of the little-remembered 1936 horror Dracula’s Daughter. In the contemporary take, she’s a ballerina (Matilda’s Alisha Weir) who gets kidnapped by a group of unaware criminals, hired to keep her locked in a grand old house for 24 hours while ransom money is obtained. But early on, recovering addict and single mother Joey (Melissa Barrera) figures out that something is up and starts to realise that the scared little girl in their care might not be so scared after all.

Abigail comes from Radio Silence, the team who broke out with 2019’s smug yet successful Ready or Not , a gimmicky thriller about a new bride forced to play a deadly game of hide and seek that started with real fizz before turning flat. There’s a similarly precipitous dip here, directors Matt Bettinelli-Olpin and Tyler Gillett again crafting a fun conceit with returning writer Guy Busick (here writing alongside Stephen Shields), but without the follow-through. It has the same arch comedy-horror tone, as gory as it is goofy, but it’s missing the touch of a real comedy writer (making it the second film this year after Godzilla x Kong where Dan Stevens has to play comic support without the support of his screenwriter). Set-ups for jokes are left as just that and our wait for any form of payoff starts to mirror the plot at large, our wait for a premise to become a real movie proving similarly endless.

What’s frustrating is that, like Ready or Not, it’s directed with more flair and menace than the majority of studio horror released at this time – grand and sleek and, glory of glories, well-lit (!). It’s also set in the kind of sinister remote mansion that recalls an Agatha Christie whodunnit, something the film references with a copy of And Then There Were None, cluing us into another source of inspiration. But as a mystery, the film is a cop-out, guiding us to a big reveal that never really arrives (we’re left with a cascade of “so whats”) and instead, we’re offered the distraction of gore, as if another exploding body might help us to forget that we’re on a long road to nowhere (the runtime is a bloated 109 minutes).

Barrera, who also starred in the same team’s two recent Scream films, is an appealingly earthy heroine, even if she’s cursed with illogical decision-making and, by the end, some discordantly sappy dialogue. Kathryn Newton, who recently suffered through Lisa Frankenstein , is ever-likable (the tone of her sadly underseen 2020 comedy slasher Freaky is something the makers of Abigail should have looked toward) and as the evil child at its centre, Irish actor Weir is a total marvel, a convincingly ferocious and sour little monster even if she’s a little defanged during a messy and maudlin finale which dares to give us important parenting lessons from a vampiric demon.

As the plotting falls apart and the wheels truly come off, there’s nothing that strong direction and a work-hard cast can do to keep Abigail from sucking. There’s a lot of blood here but very little else.

Abigail is out in US and UK cinemas on 19 April

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Common sense media reviewers.

Man hides his mental illness in romantic drama; suicide.

A Lot or a Little?

What you will—and won't—find in this movie.

People with mental disorders should tell loved one

Annoyed, a man kicks a dog and accidentally kills

Indian movie with Indian cast. Janani has a deaf s

Punches are thrown. People are beaten up. A dog di

A man and woman kiss. A wife complains her husband

Adults drink alcohol.

Positive Messages

People with mental disorders should tell loved ones and get help. Suicide isn't the answer to any problem.

Positive Role Models

Annoyed, a man kicks a dog and accidentally kills it. He lies to his wife about the dog's absence, then breaks down and confesses, demonstrating that he has lost control of his actions.

Diverse Representations

Indian movie with Indian cast. Janani has a deaf sister. References are made to the light skin of White European women. A man who discovers he has a mental disorder hides it out of shame and fear that his wife won't love him if she finds out.

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Violence & Scariness

Punches are thrown. People are beaten up. A dog dies after having been kicked. A man with bipolar disorder attacks a good friend, slashing his face with a bottle. He holds a knife to his own neck. At another point, he walks into the sea but is saved. Someone commits suicide. A man slaps a youth. Half a dozen men attack one man brutally, punching him and banging his head and body against a car hood. Somehow, he recovers and fights back so terrifyingly that the attackers run away. One dies of a knife wound. A man undergoes shock treatment. A man raises a knife over a sleeping woman. A man sees hallucinations that urge him to kill.

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Sex, Romance & Nudity

A man and woman kiss. A wife complains her husband no longer makes love to her.

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Drinking, Drugs & Smoking

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Parents Need to Know

Parents need to know that 3 is a 2012 Indian movie about young lovers who overcome the objections of their families to marry but face challenges. Bipolar illness short-circuits their lives. Brutal, bloody beatings and suicide are subjects, as well as shock treatments. A man distractedly kicks a dog to death. Adults drink alcohol. Language includes "damn." In Tamil with English subtitles. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

3 opens on police investigating the scene of a death. From there, flashbacks upon flashbacks roll out to tell us how we got here. Ram (Dhanush) is a handsome, bright high school senior and son of a wealthy family. Janani (Shruti Haasan) is a pretty student who catches his eye. Deeply in love, they marry. He sinks into manic and depressive periods, becomes a danger to himself and others, refuses treatment and hospitalization, refuses to tell his wife, and does himself harm. His best friend steadfastly stays with him day and night so Ram can't harm himself or Janani. Eventually Ram's despair leads to self-harm and the difficult aftermath for his wife.

Is It Any Good?

3 is a jumbled, overlong mess, redeemed only by the attractiveness of its two lead actors, Dhanush and Haasan. The song-and-dance scenes typical of Indian cinema are long and drawn-out, yet entertaining enough on their own. But are they suitable for this movie? No. The tone is the problem, and these choreographic extravaganzas have no useful place in a film that is essentially about the tragedy of mental illness.

But the mess spreads further than that. The director is the wife of lead actor Dhanush and that may be why so much screen time is devoted to lingering and lingering and lingering on his lovely face. This adds nothing to our understanding of the character nor does it move along a plot that, at 145 minutes, desperately needs moving along. With weak direction and shallow dialogue, the actors are left with few options but to engage in desperate overacting, flailing, and crying. Some crying scenes go on so puzzlingly long that one might conclude the director figured she squeezed so much great crying out of her actors, why let any of it go to waste? Characters morph from one kind of person to another, with no build-up or foreshadowing, and only a truckload of intermittently released flashbacks unravel what's going on. The film means to tell a great love story and our heartstrings should accordingly be plucked, but this elicits nothing short of boredom and a distinct regret for the sunk costs we've invested in watching it.

Talk to Your Kids About ...

Families can talk about how many different directions this movie could go in based on the primary love story. Were you surprised by the eventual subject? Why or why not?

Do you think meticulously choreographed song-and-dance sequences make this movie better or do they seem at odds with the rest of the movie's tone?

Do you think the movie accurately represents mental illness? Do you think the depiction is helpful or educational?

Movie Details

On DVD or streaming : March 30, 2012
Cast : Dhanush , Shruti Haasan
Director : Aishwarya Dhanush
Studio : Netflix
Genre : Drama
Run time : 145 minutes
MPAA rating : NR
Last updated : May 8, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time. The life and music of Amy Winehouse, through the journey of adolescence to adulthood and the creation of one of the best-selling albums of our time.

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Movie Review: ‘Ministry of Ungentlemanly Warfare’ amps up a true-tale WWII heist

This image released by Lionsgate shows Alex Pettyfer, Alan Ritchson, Henry Cavill, Hero Fiennes Tiffin, and Henry Golding in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Henry Cavill in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Alan Ritchson in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Eiza Gonzalez in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Alex Pettyfer in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Babs Olusanmokun in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Danny Sapani in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Cary Elwes in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Henry Golding in a scene from the film “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

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The latest Guy Ritchie flick “The Ministry of Ungentlemanly Warfare” has a spine of true story to it, even if it does all it can to amplify a long-declassified World War II tale with enough dead Nazis to make “Inglourious Basterds” blush.

The result is a jauntily entertaining film but also an awkward fusion. Ritchie’s film, which opens in theaters Friday, takes the increasingly prolific director’s fondness for swaggering, exploitation-style ultraviolence and applies it to a real-life stealth mission that would have been thrilling enough if it had been told with a little historical accuracy.

In 2016, documents were declassified that detailed Operation Postmaster, during which a small group of British special operatives sailed to the West African island of Fernando Po, then a Spanish colony, in the Gulf of Guinea. Spain was then neutral in the war, which made the Churchill-approved gambit audacious. In January 1942, they snuck into the port and sailed off with several ships — including the Italian merchant vessel Duchessa d’Aosta — that were potentially being used in Atlantic warfare.

Sounds like a pretty good movie, right? The story even features James Bond author Ian Fleming, giving it more than enough grist for a WWII whopper. “Operation Postmaster” makes for a better title, too, than the ungainly “The Ministry of Ungentlemanly Warfare.” Ritchie, however, already has an operation — last year’s “Operation Fortune: Ruse de Guerre” — in his filmography.

This image released by A24 shows Kirsten Dunst in a scene from "Civil War." (A24 via AP)

Ritchie, who turned Sherlock Holmes into a bulked-up action star, has always preferred to beef up his movies. It’s a less-noted side effect of the superhero era that regular ol’ heroes have been supersized, too, as if human-sized endeavors aren’t quite enough anymore. And “The Ministry of Ungentlemanly Warfare,” in which a handful of operatives kill approximately a thousand Nazis, has a fine, brawny duo in Henry Cavill and Alan Ritchson.

In the movie’s opening scene, they’re relaxing on a small ship in the Atlantic when Germans rush aboard. After a few laughs and a Nazi monologue that plays like a poor man’s version of Christoph Waltz’s masterful oration in “Inglourious Basterds,” the duo makes quick mincemeat of them, leaving blood splattered across the henley shirt of Anders Lassen (Ritchson, a charming standout).

Not much has changed in Ritchie-land, though he’s swapped tweed for skintight tees and cable-knit sweaters in a rollicking high-seas adventure. As in the director’s previous movies, everyone — and, as before, nearly all male — seems to be having a good time. Likewise, Ritchie revels in his characters’ debonair nonchalance while meting out all manner of savagery.

This image released by Lionsgate shows Eiza Gonzalez in a scene from the film "The Ministry of Ungentlemanly Warfare." (Daniel Smith/Lionsgate via AP)

This image released by Lionsgate shows Eiza Gonzalez in “The Ministry of Ungentlemanly Warfare.” (Daniel Smith/Lionsgate via AP)

The assembled group of operatives are said to be delinquents and misfits, though they steadfastly adhere to the polite manners of past Ritchie protagonists. They may kill with bloodthirsty impunity but what really matters is upholding an old-school sense of style. When the undercover agents Marjorie Stewart (Eiza González, who silkily cuts like a knife through the film) and Mr. Heron (Babs Olusanmokun, excellent) ride a Nazi-controlled train on their way to Fernando Po, they look in disgust at the German sausages they’re served. Later, someone will say, “I hate Nazis not because they’re Nazis but because they’re so gauche.”

And in proficiently staged set pieces, Ritchie makes his own case for a bit of class. As a journeyman filmmaker now pumping out a movie a year, he’s in many ways grown to be a more complete director. He’s adept at giving the many members of his large ensemble moments to shine — including Henry Golding, Alex Pettyfer, Cary Elwes, Freddie Fox as Fleming, Til Schweiger as a barbaric Nazi and Rory Kinnear as Churchill.

And once the film — based on the nonfiction book by Damien Lewis — settles into a seedy, sunny West African setting and the nighttime heist finale, “The Ministry of Ungentlemanly Warfare” proves a spirited, if grossly exaggerated diversion.

“The Ministry of Ungentlemanly Warfare,” a Lionsgate release, is rated R by the Motion Picture Association for strong violence throughout and some language. Running time: 92 minutes. Two and a half stars out of four.

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Rebel Moon 2 review: Zack Snyder's Netflix sequel has the same flaws

The Scargiver has arrived.

preview for Rebel Moon - Part Two: The Scargiver Official Trailer (Netflix)

Whether those viewers were suitably impressed with what they saw to come back for more remains to be seen. However, it's entirely possible that Rebel Moon – Part Two: The Scargiver will be greeted with the same critical drubbing .

Given that the movies were filmed back to back, it's not like any changes could be made in response to the reaction (not that Snyder would have, anyway). What it means is that Rebel Moon 2 suffers from the same flaws, even if its pared-down plot marks a slight improvement.

elise duffy, staz nair, rebel moon part two the scargiver

It's unwittingly a slight on the first movie that The Scargiver only needs a brief opening voiceover to catch you up on the events of A Child of Fire . With the round-up movie out of the way, it's time for war.

Kora (Sofia Boutella) and the rebels are on Veldt, preparing the villagers to defend their home against the Motherworld. Admiral Noble (Ed Skrein) is on his way and he's pissed after Kora nearly murdered him, determined to take her back to her adopted father Regent Balisarius (Fra Fee) to pay for her desertion.

And that's it really. The Scargiver has flashback sequences to flesh out the backstories of the various rebels, including four consecutive flashbacks (genuinely) during one group therapy session before the big battle. But there's nothing else here plot-wise: its first half is the training and the second half is one extended battle.

That shouldn't be a surprise since Rebel Moon has always been one movie that was cut into two. Before the screening we attended, Snyder spoke of either trimming down his original script into one movie, or just cutting it in the middle. Having seen both movies, the former might have the stronger option.

michiel huisman, sofia boutella, rebel moon part two the scargiver

The bones are there for Rebel Moon to have been better. As in the first movie, its world-building is extensive and Snyder fans will savour more visually impressive battles captured, of course, in slow motion. (Whether we needed slow-motion grain harvesting sequences is more questionable.)

Snyder also assembled a compelling cast for his Rebel Moon movies, with the sequel allowing Sofia Boutella more emotional beats and for Ed Skrein to attack his hissable villain with relish. You end up wanting to see more of the other rebels, especially Doona Bae's Nemesis, which speaks to the collective strength.

The problem is that it's all just a bit boring. There's not enough plot to justify the two-part approach and while it means The Scargiver is pacier than the episodic, overstuffed first movie, it's not dramatically interesting.

As you'd expect from the war movie setup, there are Heroic Sacrifices and Last-Minute Reprieves throughout the extended battle. These generate a frisson of excitement, but mostly are met with indifference because it's nothing we haven't seen before, down to the Star Wars homages (you better believe somebody loses an arm).

staz nair, djimon hounsou, rebel moon part two the scargiver

Maybe it's the case that when the extended versions of both movies arrive this summer, said to be six hours in total, things will finally click into place for Snyder's vision. Both movies certainly feel stripped down – whether that's character development or even just the action, which is again sanitised and bloodless here.

It's hard to imagine anybody other than hardcore Snyder fans wanting to revisit this world, though. As with the first movie, you're left wishing that with Netflix seemingly allowing him to do whatever he wished, Snyder had chosen to go for the 'full' vision right away.

As Rebel Moon – Part Two: The Scargiver ends with a cliffhanger reveal that comes out of nowhere, it'll end up feeling like a threat for most viewers. There's no denying Snyder has created an interesting world – he just forgot to tell an interesting story within it.

Rebel Moon – Part Two: The Scargiver is available to watch now on Netflix.

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Movies Editor, Digital Spy Ian has more than 10 years of movies journalism experience as a writer and editor. Starting out as an intern at trade bible Screen International, he was promoted to report and analyse UK box-office results, as well as carving his own niche with horror movies , attending genre festivals around the world. After moving to Digital Spy , initially as a TV writer, he was nominated for New Digital Talent of the Year at the PPA Digital Awards. He became Movies Editor in 2019, in which role he has interviewed 100s of stars, including Chris Hemsworth, Florence Pugh, Keanu Reeves, Idris Elba and Olivia Colman, become a human encyclopedia for Marvel and appeared as an expert guest on BBC News and on-stage at MCM Comic-Con. Where he can, he continues to push his horror agenda – whether his editor likes it or not.

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