You might like it, if this is the first horror movie of your life - otherwise skip it.
Immaculate brings nothing new to the table. There is not a single original idea here, almost every scene or idea has been done before in countless other movies. It copied everything that has been done before and did it without soul. Two exceptions though: First, the very last scene was somewhat intense but the conclusion did not make sense in my opinion. Second, the visuals are well made and often beautiful.
Being this unimaginative, the movie could have increased its entertainment value going the obvious route and show some nudity - Sydney Sweeney and the other nuns have lots to offer in this regard. There is none though, except some slightly transparent bathing gowns. I mean, if you can't write properly, at least give us some other excitement.

It's just passable and that's it.

Passable.
I think I wanted more from 'Immaculate', though what's provided is fairly watchable to be honest. Visually it looks neat, too. Sydney Sweeney's performance is as good as expected, the rest of the cast are all competent; Álvaro Morte the standout of them.
The run time does fly by, I kinda felt watching that there wasn't really a middle - just one long build-up to the main event at the end. Speaking of which, 'the' scene at the conclusion made me smirk, the problem is that it most certainly was not supposed to; Cecilia's screams immediately sounded like that "best cry ever" meme* to me, I couldn't help but smile, I'm sorry.
*never knew the backstory to that clip until searching for it here, it's not quite so amusing now to be honest. awks.
All in all, I'd narrowly class this as a film worth watching. I almost got to see it by myself in an empty cinema, though a group of two inexplicably arrived like 30-45 minutes into the 90 minutes! That's gotta hurt.

Now I did quite like the underlying premiss of this take on the immaculate conception but boy, the execution and the acting are something completely different. "Cecilia" (Sydney Sweeney) is taken to a beautifully rustic convent where she is welcomed with open arms. Everyone says how pretty and blessed she is, and this rather flies in the face of her natural humility. Imagine her shock, then, when she is summoned to the cardinal (Giorgio Colangeli) and made to undergo some rather personal medical tests that reveal.... Well that'd be telling, and for a while Michael Mohan manage to sustain a little interest in just what is going on amidst the peace and quiet of this ancient sanctuary. Sadly, though, the story swiftly goes way off the rails and leaves us exposed to Sweeney's limited talents and an excess of hysteria that involves a chicken, a dimly lit catacomb and a dastardly plan that puts enormous strain on our increasingly inventive and resilient novice. As "Yoda" might have profoundly said, "loads of screaming and ketchup do not an horror film make" and after about half an hour here the writing is on the wall (perhaps the best place for it?) and my interest wained. This is a tough genre to keep interesting - there are few ideas that have not been done to death before. This has the germ of originality, but sadly it's a very small germ.

Late Night with the Devil demonstrates how much can be achieved with a quality script and exceptional acting.
First off the performance by David Dastmalchian is simply excellent, in every sense. He beautifully and convincingly pulls off a Johnny Carson style, impression of a late night 70's interviewer. The man is wholly believable and to be honest, its his performance that drew me in and kept me watching till the end.
The story is well rendered too. Its not exceptional but there's a decent amount of originality and a sense of ambiguity, especially surrounding the main character to create intrigue and interest. Has the interviewer already made a shadowy pact with the devil? What price will he pay? Tune in, to see.
On the down side there are obvious budgetary constraints in play. That said, but there is so much quality on offer here in terms of performances from the cast and a solid story, its really not overly noticeable.
In summary, a flick defined by exceptional performances and a quality, Faustian style, back story. A must watch if you like "quality" horror.

**Brilliant**
In this day and age of AI scripted stories, it is refreshing to finally see a movie which is original.
Late Night with the Devil is simply brilliant. Direction, acting, storyline, suspense, thrill, everything more than one could ask for. The story flows so meticulously that I kept wondering what’s going to happen next? This movie is sure going to keep you on the edge of your seat.
Overall, I thoroughly enjoyed this movie. Very entertaining and thought provoking.
Solid 8/10 from me.

With his days of chasing Johnny Carson in the television ratings long gone, the now struggling and recently bereaved talk show host "Jack Delroy" (David Dastmalchian) is staring cancellation in the face. Then he and producer "Leo" (Josh Quong Tart) come up with an idea for a riveting Halloween special. The gist of what comes now purports to be an off-air recording of that lost transmission from 1977 - and it's quite literally hair raising. His first guest is a medium, his second an out-and-out sceptic and his third - well they have quite an unique claim to fame - and it's this last quarter of the film that comes "alive". Sadly, the rest of this feature is rather hampered by the constant (virtual) advertising breaks that completely suck the pace out of the thing. They are designed to, in monochrome, fill in a little of the back-stage machinations as the programme goes to air but for me, they just interrupted - far too frequently - the culmination of the truth or fake storyline. Dastmalchian does an half decent job here, but the plaudits really belong to Ian Bliss and his sarcastic "Carmichael Haig" character. He's the poacher-cum-gamekeeper cynic who has a ridiculing put down for just about everything that emanates from the other characters. Projectile vomiting or chair levitation - he has an plausible explanation. That's maybe part of the film's problem in general. Though set in the 1970s when these kind of visual effects were less prevalent, the whole thing just comes across as a perfectly plausible ratings-gathering gimmick. Whilst that's not necessarily a bad thing, it does rather rob the film of any pretence of horror or mystery. In fact, by the conclusion it seemed more designed to send up the whole principle of half-baked, late-night American television hosted by vain, ambitious but largely talentless men in suits. It's short and sweet, and doesn't hang around - but I just didn't find it particularly shocking or innovative. Wait til it's on the television, I'd say.

How far are you willing to go in realizing your ambitions? Would you be willing to make big sacrifices? Associate with shady beings? Sell your soul? Those are among the possibilities raised in the latest hair-raising smart horror/comedy from the writing-directing duo of Cameron and Colin Cairnes. This documentary-style offering presents the supposedly lost recording (complete with allegedly never-before-seen found footage) of a 1970s late night talk show hosted by comedian/TV personality Jack Delroy (David Dastmalchian) whose goal is to unseat Johnny Carson’s eminently popular Tonight Show as the premier after-hours choice of viewing. Delroy’s Night Owls broadcast is modestly successful, but it never manages to win the late night ratings race, so he desperately looks for ways to nudge his program over the top. When he decides to host a Halloween show with an array of occult/paranormal guests – capitalizing on a growing trend at the time – he believes he’s hit on the formula to achieve his goal. But, as the show progresses, he finds himself in over his head as events begin to spiral out of control. Viewers both on and off the screen are kept in suspense with a well-integrated blend of humor, high camp and unexpectedly spooky moments involving a hammy, self-righteous psychic medium (Fayssal Bazzi), an egomanical magician-turned-debunker (Ian Bliss), and an escaped teenage cult member (Ingrid Torelli) and her psychologist caregiver/surrogate parent (Laura Gordon). As things deteriorate, Jack tries to hold the show together with the aid of his producer (Josh Quong Tart) and flunky sidekick (Rhys Auteri). But, as the stakes are continually upped, that task grows ever more difficult, especially when supernatural influences begin to assert themselves in the studio, threatening both the broadcast and the fulfillment of the host’s long-cherished dream. Although occasional pacing issues, a periodically disjointed narrative and a somewhat overblown final act can get in the way of the smoothness of the story flow, these shortcomings are made up for by the film’s superb period piece production design, its clever writing and its fine performances, most notably that of the protagonist. And, in the end, it’s all served up with lots of laughs and a tidy moral of the story. Admittedly, “Late Night with the Devil” probably would have worked better as a Halloween release than a piece of springtime movie fare, but that doesn’t lessen the entertainment value of this inspired production, one thar shows horror flicks can indeed do more than just see how high it can make the final body count.

Grotesque, diving into the pitfalls of progress and the human obsession with perfection. Visually, it’s remarkable — its uncanny imagery often leaves you questioning whether you’re thrilled or disturbed.
However, while it’s bold and at times deeply unsettling, it doesn’t quite achieve that elusive "perfectly balanced (as all things should be, cit.)" quality.
The narrative occasionally stumbles, with gaps that detract from its overall impact.
It’s thought-provoking but not groundbreaking — a film that’s above average, yet just shy of excellence.
And I like to imagine that the director somehow died during the making of the movie and was secretly replaced by Yoshihiro Nishimura.

I’m into strange films, psychological elements, dramas, and gore, but this movie is complete garbage.

A disaster. It's an insult to the illustrious careers of Demi Moore and Dennis Quaid, who both deserve far better.
The film focuses too heavily on the body of Margaret Qualley's character, Sue, at the expense of delivering a meaningful story or message. The gratuitous gore towards the end seems to be an attempt to align with current trends, but it falls flat.
Ultimately, Coralie Fargeat failed to deliver a coherent message, making the movie a missed opportunity for everyone involved.

"The Substance" is something of a cinematic mash up.
First off, this story is somewhat reminiscent of "Death Becomes Her". The 1992 film starring Meryl Streep, Goldie Hawn and Bruce Willis.
The notion of the fatal conceit in the search for eternal youth amongst the ageing Hollywood set is very much central to the story in both films.
That said, the handling is distinctly different. This film is a lot louder, gaudier, brasher, cruder and ruder, than its 90's counterpart by a country mile. There are elements I'd typically associate with Lovecraft too, that are grotesque, monstrous and disturbing.
This work is also more a visually clever, as opposed to narrative experience. Its messages are conveyed, like Hollywood itself, through larger than life youthful glitz and glamour but also an innate, ephemeral shallowness.A shallowness that becomes a kind of obsessive prison, denying those trapped in it, any meaningful form of human intimacy.
My only criticism of what I do feel is a very good film, is it overplays its hand. Its so over the top in the latter part of the film, I felt it partly drowned out the message, it had, up to that point, convincingly conveyed. The closing scenes. in particular, felt crude, clumsy and would have worked considerably better, with more controlled and subtle, handling.
In summary, "The Substance" is a rather clever film that uses the eye of the lens to expose how what we see, in Hollywood at least, is more important than who we are. People are shiny commodities to be replaced when the beautiful image they portray starts to wither away. As we see, youth and beauty is everything, no matter the price.
I will say too, this is by no means a perfect cinematic experience. It can be over the top, especially in the latter part of the film. That said, there is, on balance, more to like here than not. Definitely worth a look.

**The Substance (2024)**
A Visceral Exploration of Youth Obsession and the Fear of Time
"The Substance" is a bold cinematic experience that masterfully resurrects the practical effects of 1980s horror, delivering a visual and auditory feast that is both nostalgic and groundbreaking. Directed with a keen eye for detail, the film delves deep into society's obsession with youth and the inevitable passage of time, offering a thought-provoking commentary wrapped in visceral horror.
The film follows a renowned actress, portrayed by Demi Moore, who grapples with the fear of aging and losing her fame. In a desperate attempt to reclaim her youth, she becomes entangled with a mysterious substance that promises vitality but comes with horrifying consequences. As she navigates this treacherous path, the lines between reality and obsession blur, leading to a descent into madness.
At its core, "The Substance" is a critique of the 21st-century fixation on youth over the value of life experience. It echoes themes from classics like "Death Becomes Her" and "The Picture of Dorian Gray," highlighting the shame associated with aging and the societal pressure to maintain perpetual youthfulness. The film questions whether society promotes a 'sexy reality' at the expense of genuine substance and wisdom.
The narrative explores the concept of cheating death, not just literally but metaphorically, as a fear of social death—being forgotten or replaced. This is poignantly portrayed through Moore's character, who embodies the desperation of clinging to relevance in a world that idolizes the new and discards the old.
**Practical Effects and Gore**
From the opening scenes, it's evident that the physical effects are a labor of love—a homage to the era before CGI dominated horror. The gore is unapologetically front and center, reminiscent of Cronenberg's "The Fly," pushing the boundaries of on-screen grotesque. The disturbingly realistic blood effects, combined with meticulously crafted sound design, amplify the discomfort, making the audience squirm.
**Color Palette and Visual Aesthetics**
The color palette is meticulously crafted, bathing scenes in hues that evoke unease and familiarity simultaneously. The use of shadows and lighting enhances the suspense, while the wardrobe and costume design serve as narrative devices, illustrating the juxtaposition between youth and age, purity and corruption.
**Performances**
Demi Moore delivers a stellar performance, capturing the vulnerability and desperation of a woman battling the relentless march of time. Her portrayal adds depth to the film's themes, embodying the internal decay and obsession manifesting physically through the substance. The supporting cast also contributes significantly, with each character representing different facets of society's views on youth and aging.
**Critique**
While the film excels in many areas, it isn't without flaws. The ending feels abrupt, leaving several narrative threads untied, which may leave some viewers unsatisfied. Additionally, the persistent focus on teen emotional states can be grating, potentially alienating those seeking a more mature exploration of the presented themes.
**Engaging with the Hype**
"The Substance" has generated significant buzz online, sparking discussions about its innovative use of practical effects and its deep societal commentary. The hype seems to stem from both horror enthusiasts who appreciate the throwback to classic techniques and audiences resonating with its timely themes. However, it's worth considering whether the film is merely feeding into the very cycle of superficiality it aims to criticize.
"The Substance" is a visceral commentary on the fear of aging, the obsession with youth, and the inevitable march of time. It challenges viewers to reflect on their perceptions of age, experience, and what truly holds value. By drawing parallels with films like "Gremlins," "Frankenstein," "A Christmas Carol," and "Carrie," it positions itself as a modern amalgamation of timeless themes.
Despite its imperfections, the film succeeds in sparking conversation—a hallmark of impactful cinema. It's as uncomfortable as it is thought-provoking, demanding to be felt and discussed. Whether you love it or hate it, "The Substance" is a noteworthy addition to the horror genre that holds up a mirror to society's own fears and obsessions.
**Extra Thoughts**
- The film raises pertinent questions about our role in perpetuating the fear of aging. Are we complicit in creating a world where experience is devalued?
- The character dynamics suggest that embracing change and maintaining balance might be key to a fulfilling life, even if it comes at a cost.
- The hype surrounding the movie could reflect its resonance with audiences grappling with similar fears and obsessions in today's youth-centric culture.
**Final Recommendation**
"The Substance" may not offer all the answers, but it provides a platform for dialogue on important societal issues. Its blend of classic horror techniques with contemporary themes makes it a film worth experiencing. If you're a fan of thought-provoking horror that goes beyond mere scares, this movie deserves a place on your watchlist.

I love French comedic films, and this one is no different. Coralie Fargeat crafted a seemingly simple story on the subject of Hollywood's obsession with youth and beauty, and then directed it right into the status of cult, horror, midnight, grade B (the good kind) movie genre. Brilliant!
While on the face, this movie is about aging out of Hollywood's graces, the script is also laced with interesting subplots: having a proxy that ages for you a la Oscar Wilde's Dorian Gray, and the subject of shallow self-hate and self-love, along with that "needy for applause" character that so many actors have and must either learn to deal, or fail at life.
Demi Moore is nothing short of awesome here. Dennis Quaid and Margaret Qualley are right up there with her and Fargeat in playing over-the-top choices.

Certainly an experience!
'The Substance' is a lot. It's one of those sorta movies that I needed to let settle in my mind before I even started to think about reviewing it. I'm not even sure where to start. It's insane from pretty much the beginning to the very end of its 140 minute run time, some scenes are particularly rough to watch unfold!
I think the only body horror flick I've seen up until this point is David Cronenberg's 'Crimes of the Future' from 2022, which I found to be solid enough but it came across, at least to me, as a bit too forced for shock value. This 2024 release has plenty of that, if not more, but it somehow feels totally at home with what surrounds it.
The story itself is fascinating, even taking out all the craziness with the gore et al. So by no means is this a film that is style over substance (sorry). It isn't anything actually overly original in terms of the base plotline, though the way it is portrayed and brought to life is astounding - every inch is expertly crafted.
Demi Moore is outstanding in this! I haven't seen her in much, at least anything released post-2002, but here she is top quality throughout. Margaret Qualley is obviously the opposite in terms of the former, though is just as fantastic in regards to the latter - great performance!
If you see anyone giving warnings ahead of watching this, they are very much warranted! Even with all the graphic twistedness, which will turn many away, this is an impressively enthralling picture. I may need a lie-down though.

This takes a logical step on from Coralie Fargeat's earlier "Reality+" (2014) drama, only this time it takes a much more substantial swipe at all things vain. "Elisabeth" (Demi Moore) has been at the top of her fitness game for many a year when her boss "Harvey" (Dennis Quaid) decides that she's now too old and that a younger model is needed to present those programmes we all saw on the television of gorgeous, fit and healthy, people showing us how to exercise on a mat in from of our televisions each morning. Distracted by her imminent removal, she is involved in a car accident that introduces her to an handsome young nurse (Robin Grear) and then to a curious invitation to test out a mysterious fluid that can essentially give her her cake and eat it. In best "Jekyll and Hyde" tradition, injecting this quite literally creates a split personality. One is her current self, the other a perfect, younger specimen. They work in a rota system each gets a week of consciousness then has to take a week out. Thing is, the more vivacious character "Sue" (Margaret Qualley) is not so religious about sticking to these sharing rules and we quickly discover that what is "borrowed" can never been returned - with increasingly harrowing results. With the gushing "Harvey" determined to capitalise on his new ratings winner, things become decidedly irritating for the now marginalised "Elisabeth" - but shat can she do? There's no going back...! I think this is Moore at her best. Her palpable sense of evolving fury, exasperation and frustration is expertly captured as is the selfishness of her alter ego by an on form Qualley. Quaid steals his scenes as the truly odious epitome of corporate greed for whom it's all about the business, the money and never the actual people concerned. The denouement is reminiscent of something concocted by one of the David's - Lynch or Cronenberg, and allows the throbbing ghastliness of this story of vanity gone mad to demonstrate just how fickle life can be when there's little actual substance at all to their shallow and vacuous lives. A savage indictment of the short-term and unprincipled "beauty" industry that aims squarely at just about everyone and everything involved, is engagingly toxic and well worth a watch.

There’s a big difference between being funny and being laughable, yet the latest from writer-director Coralie Fargeat has somehow found a way to be both. After amassing a considerable amount of largely well-earned cinematic goodwill in the film’s opening segments, the picture mercilessly squanders that support in the final act with an overlong, meandering, disgustingly gratuitous and grotesque exhibition of utterly bad taste. This story of an aging actress (Demi Moore) who seeks to revive her career by retrieving some of her lost youth with the aid of an enigmatic injectable follows her grand misadventures when the mysterious substance prompts the emergence of a younger doppelganger (Margaret Qualley), who becomes a Hollywood sex kitten sensation virtually overnight. To make this experimental venture work, however, the two individuals must follow a complex set of rules, dictates that become increasingly difficult to follow as they each vie for their respective shares of attention. And, as this scenario unfolds, tension grows between them, leading to complications and unexpected developments that become progressively harder to manage. But that’s where what works in the film ends. As the story plays out from there, it becomes stupendously absurd, and, even though there are some hearty laughs in this, there are even more ridiculously implausible and unexplained occurrences that try audience members’ patience and tolerance, so much so that I couldn’t wait for this trainwreck to end. In addition to the foregoing shortcomings, the film includes myriad changes in tone, making it difficult to determine whether this is supposed to be a serious thriller or a campy road, very much in the same way as in the incomprehensible French offering “Titane” (2021). It also shamelessly “borrows” elements from other movies in various ways, most notably imagery and narrative references from “The Shining” (1980) and “Young Frankenstein” (1974), costume designs from the “Hunger Games” franchise, and bafflingly inexplicable soundtrack excerpts from films like “Vertigo” (1958). Then there’s the picture’s obvious, heavy-handed message about the perils of misogyny, observations that, as important as they are, could easily stood to have been turned down more than a few notches (yes, we get it already). At the same time, though, there are also some fundamentally innate questions about the narrative that go wholly unanswered, leaving us with numerous head-scratching moments. Sadly, these failings detract significantly from the elements that do work (at least early on in the film), such as the fine performances of Moore and Qualley, the picture’s inventive cinematography, and a central premise that could have made for an engaging story if handled with greater finesse. But these strengths are effectively cancelled by what ultimately results when this release goes off the rails. Indeed, how “The Substance” captured the 2024 Cannes Film Festival award for best screenplay is truly mind boggling. I’m certainly a fan of the weird, wild and wacky, but this release undermines the virtues of those cherished qualities. Regrettably, I was seriously looking forward to seeing this offering, and I was decidedly impressed by what I saw in its opening acts, but that was all wiped out by how this one ultimately played out, a picture that, in the end, ironically relied more on style than “substance.”

Demi Moore's performance in The Substance is so potent that it's hard to tell what's more intoxicating; her inevitable Best Actress win or Coralie Fargeat's razor-sharp screenplay that's already got the Oscar in the bag.

For a film that’s laser-focused on the human body, it’s gloriously on point that THE SUBSTANCE begins with a freshly cracked, bright yellow egg yolk.
Eggs are the ‘giver of life’, right? They’re the origin of all of us. Gleaming and plump, the yolk suddenly gets pricked – not by a fork, but a syringe.
That’s the first juicy visual metaphor of many in this meaningfully bonkers body horror, for which French filmmaker Coralie Fargeat picked up the prestigious Best Screenplay prize at this year’s Cannes Film Festival.
To call the film ‘bold’ is a weapons-grade understatement. It’s an audacious, jaw-dropping examination of what screens & billboards demand of women (especially as they age), and how laughably impossible it is to meet those demands. Well, if you didn’t laugh, you’d cry. After watching THE SUBSTANCE, you might do both.
Here's our deep dive for good.film: https://good.film/guide/holy-sh-t-the-substance-is-a-weapons-grade-takedown-of-the-male-gaze

The Substance delivers an intense, visually mesmerizing commentary on the entertainment industry's obsession with youth and outward beauty. Demi Moore and Margaret Qualley offer remarkable, maybe even career-best performances, with Dennis Quaid excelling in his role as well. Coralie Fargeat explores how aging stars, particularly women, are discarded when they no longer meet the industry's strict beauty standards. Moore's character, haunted by the memory of her former fame and beauty, goes down a dark path in pursuit of a "better" version of herself. The story is also a sharp critique of power dynamics, with white men controlling who's in front of the spotlight, while women are pitted against one another for validation.
The film's production is equally impressive, especially the makeup and prosthetic work that elevates its body horror elements. While the first half of the movie is more subdued, the gore ramps up significantly as the plot unfolds, culminating in a chaotic "fourth act" that will leave audiences bewildered. The fast-paced editing, paired with an impactful score, heightens the tension and surrealism of the narrative. Though there's a part of me who prefers a version of the film that ends before the wild final act, the overall experience is an unforgettable, audacious exploration of vanity, control, and desperation in the entertainment world.
Rating: B+

The beginning of this morning was a bit slow. But it did get better throughout the movie. The story line was decent. Definitely a decent movie. It kept you alert not knowing what was going to happen out on the field. Had some humor in it from Russell Crowe to guide the Hemsworth brothers through rough territory. Great story. Happy ending.

Russel Crowe did a pretty good job. There were a bunch of explosions n stuff. It was alright I guess.

Land of Bland as I call it, is yet another uninspiring, production line, pro US military, action flick.
Coming kitted out with the usual pro US exceptionalism and bad guys who have a valid point about imperialism but are still "bad" anyway, this film offers nothing even remotely original or in this reviewers opinion, terribly likeable.
The characters are your usual array of entitled, obnoxious, US military types, who go on a flawed escapade in someone else's country to retrieve a CIA asset. Things turn sour and well the rest is your by the book, bravado, darning do, bravery, codswallop.
Fight scenes are frenetic, well paced and impressive. Lots of pyrotechnics and slow motion bullet and shell casing shots.Certainly from an exposition point of view, this film is not dull.
Acting is unremarkable but its the story that really leaves a lot to be desired. Putting aside its predictable bias, this tale is cliched, pedestrian and utterly predictable. Its essentially, every stale, second rate, US military action flick, you have ever seen with Australians and New Zealanders, in the lead.
In summary, a film loaded down with tired pro US sentiment that's thoroughly unoriginal. Really only watchable in terms of its admittedly fast paced and elaborate, exposition.

I appreciate a lazy man. Sitting around angry in a car. Sitting around angry in a drone chair. Crowe is really doing it well. Cool explosions. Lots of guns. You can figure out if you like this movie by the box art. Didn't really believe the main plot shift or the disposition of the lead. Would have scored 2 higher if it was 30 minutes shorter. Basketball/pregnancy side plot would have been an easy way to cut all that. Get out the chair skinny boy. Fatties know how to drone.

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/land-of-bad-review-an-engaging-yet-flawed/
"Land of Bad offers an engaging yet flawed rescue operation that should please most viewers seeking adrenaline-driven entertainment. With excellent performances across the board, William Eubank employs fast pacing, high-intensity shootout sequences with a few interesting stylistic choices, and basic yet riveting storytelling.
Character development and thematic depth remain surface-level, and the third act’s plot conveniences contrast with the realism of previous segments, but the film ultimately accomplishes what it promised, providing enough moments of tension empowered by a potent score to still reach the shore."
Rating: B-

Enjoyed the first one and was looking forward to seeing where they took it. They took it straight to the bottom. This is unquestionably the worst major studio movie I have ever watched. It's the same story as the first, fighting over a few acres of wheat. The acting is flat, the combat scenes are a joke, the writing isn't even what I would consider a first draft. But if you like watching people harvest wheat in slow motion, this is the film for you.

First part was great and second one is continuing of its success. Another great movie. Good actors, good story, no agenda and BS.

Weaker, but still suitably watchable.
'Rebel Moon - Part Two: The Scargiver' is a more action-packed entry to the franchise, despite that I didn't hold as much interest in this as I did for the previous installment. I did, mind, like seeing the battles commence, both in terms of action and effects.
Sofia Boutella is enjoyable once more, but Ed Skrein isn't as interesting this time around; I would've preferred a new villain for this one, to be honest. Djimon Hounsou does have more to work with on this occasion though, which is only a positive thing. Bae Doo-na has a few nice moments, even if she is underused for the majority.
These movies work for me, what can I say? Kinda mad, however, that they're seemingly planning to make six of these in total... a bit much, even for someone that likes these opening two. I'll be there tho ¯\_(ツ)_/¯

Better than the first because it have more action scenes;
Great action scenes all around;
CGI is great almost all the times, less in others (like when the cannons where falling of the ship);
Acting is so-so;
Snyder passion for it is visible;
Even so, being a 3 movies story (if I am right), it seems too little - they worked too much in several characters that don't have time to show potential;
The fuss all around a archaic village is something that I don't find believable;

Zack sure likes farming.
What a pile of crap.
I liked the first one well enough.