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‘3022’: film review.

Omar Epps and Kate Walsh star in '3022,' John Suits' sci-fi thriller about astronauts trapped aboard a space station after a possible extinction-level event on Earth.

By Frank Scheck

Frank Scheck

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Outer-space thrillers have considerably upped the ante in recent years, thanks to the profusion of such exemplars of the genre as The Martian , Gravity , Interstellar and Ad Astra , among others.  It therefore took no small amount of nerve for director John Suits ( Loitering With Intent , Extracted ) to weigh in with his low-budget offering about trouble aboard a space station. While 3022 , which wasn’t screened in advance for critics, doesn’t prove of the same caliber as those films, it delivers enough tense atmospherics to make it worth checking out for sci-fi fans.

Despite what you may guess from the title, the story is set slightly closer to the present, in the year 2190 to be precise. The action takes place aboard Pangea, a space station on a 10-year mission, populated by a small crew consisting of Captain John Lane (Omar Epps, USA’s Shooter ), his romantic partner Jackie (Kate Walsh, Private Practice ), medical officer Richard (Angus Macfadyen, Braveheart ) and younger astronaut Lisa (Miranda Cosgrove, iCarly ).

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Release date: Nov 22, 2019

After a montage depicting the trip’s happy, early days, set to treacly piano music, the action shifts forward five years, when everyone onboard is clearly the worse for wear. John, in particular, suffers from “night terrors,” which in extreme cases causes him to become violent while sleeping. Jackie pines for the daughter she left behind on earth, and the others are generally feeling the effects of five years in space.

In one of the film’s few lighthearted moments, Lisa sighs, “It was so nice when we got here. We were happy. Richard was showering.”

The group’s emotional instability threatens to cancel the rest of their mission, but before that can happen a mysterious explosion buffets the ship. Richard is left briefly catatonic, and Lisa suffers a serious head injury. More important, it seems that they may have felt the repercussions of an extinction-level event that may have wiped out everyone on Earth and would leave them isolated in space.

It would be too much of a spoiler alert to indicate what happens next, but director Suits successfully ratchets up the tension, although not quite enough to prevent one from hoping that a small alien would burst out of someone’s chest. The film works best when depicting the charged emotional dynamics among its main characters, while the introduction of an additional three-person crew (Enver Gjokaj, Haaz Sleiman and Jorja Fox of CSI ) rescued from another space station leads to more predictable thriller dynamics, especially since they all speak in foreign accents that instantly leads you to believe they’re up to no good.

One of the less effective elements in Ryan Binaco’s screenplay is the use of flash-forwards scattered throughout the film, in which we see a bearded, disheveled John, possibly the only survivor of the ship. The brief episodes are not only tedious, they also inadvertently serve to stop the action cold.

Epps handles the stalwart hero thing well enough by now, Walsh delivers an effectively intense performance, and Cosgrove and Macfadyen manage to invest their turns with some subtle humor. Considering the obvious budget limitations, the special effects and physical aspects of the production are convincing. Less convincing, however, is the sight of astronauts smoking cigarettes, nearly 200 years in the future, no less. It certainly doesn’t bode well for today’s anti-smoking campaigns.

Production: Kew Media Distribution, Squid Farm, Hideout Pictures, Bondit Media Capital, Octane Entertainment, Natural Selection Productions, Title Media Distributor: Saban Films Cast: Omar Epps, Kate Walsh, Miranda Cosgrove, Enver Gjokaj, Haaz Sleiman, Angus Macfadyen, Jorja Fox Director/editor: John Suits Screenwriter: Ryan Bianco Producers: John Suits, Tara L. Craig Executive producers: Ryan Bianco, William V. Bromiley, Shanan Becker, Jonathan Saba, Ness Saban, Jack Campbell, Ryan Noto, Matthew Helderman, Luke Taylor, Shannon Houchins, Potsy Ponciroli, Trevor O’Neill, Kathryn Lyn, Giles Daoust, Catherine Dumonceaux Director of photography: Will Stone Production designer: David Dean Ebert Composer: Jimmy LaValle Costume designer: Adriana Lambarri

Rated R, 91 minutes

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3022 (2019)

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3022 Review

3022 is a 2019 science fiction film about a group of astronauts living in deep space who awake to find something terrible has happened back home.

It’s the year 2190 and the United States is beginning its ten-year term to man the Pangea, a space station serving as a link between Earth and Europe One, Jupiter’s third moon, where the first off-world human colony has been established. Time passes, and the American crew bond and make what they can of a life isolated in the dark recesses of space. Five years in, things are breaking down though, the captain of the crew, John Laine ( Omar Epps ), like many others, feeling the effects of the mission, with the doctor claiming most are no longer fit for service. Then, the station is subject to a powerful external event that causes distressing failures throughout. When it’s over, they can’t make contact with Earth … and as it becomes clear why, all hope seems lost.

Director  John Suits ‘ claustrophobic, stylish space thriller is a curious little film. Set entirely on a cramped space station soaked in heavy shadows and cones of hazy neon lights, this a film with a decidedly troubling idea, though not entirely without some cinematic history behind. Either way, it’s a frightening possibility where those in the vast expanse of space are left entirely alone, left to rely on each other to survive in a future that seems devoid of light.

While a major studio might produce an epic, visual effects-laden spectacle of devastation and chaos, Suits, directing a story by  Ryan Binaco , opts for a more psychological approach, leaving the cataclysm unseen so the personalities take center stage. While this is a dialogue-heavy experience, it’s not without tension, as conflicts naturally arise in the wake of people already mentally stressed now forced to deal with an unimaginable fate.

In telling the story, the plot has us skipping about in time to dots on the calendar unknown leaving us to watch as that troubling future builds. With Laine is Jackie Miller ( Kate Walsh ), a mother who left her daughter back on Earth, Richard ( Angus Macfadyen ), the ship’s doctor, and Lisa Brown ( Miranda Cosgrove ), a young scientist. Each are on a clock so-to-speak as resources are not infinite and fate dealing with each.

Drawing its temperament and tone from the likes of Solaris  (1972) and taking a few liberties perhaps in the science of it all, the success of  3022 comes from its characters, and the film’s bleak commitment to the madness. This ends up becoming a treatise of sorts on humanity with the station itself symbolic of Earth, and while it doesn’t hold together as tightly as maybe it could, and Suits’ choice to keep most shadowed in a prevailing darkness, there’s a lot about where it all takes us that remains undeniably compelling. This is meant to be a moody, atmospheric tragedy, its high production values and sturdy performances greatly helping in making this a solid work of true science fiction. Recommended.

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3022 Reviews

Generic...quick and dirty.

Full Review | Original Score: 1/4 | Mar 27, 2020

Delivers enough tense atmospherics to make it worth checking out for sci-fi fans.

Full Review | Nov 23, 2019

Where to Watch

Omar Epps (John Laine) Kate Walsh (Jackie Miller) Angus Macfadyen (Richard Valin) Jorja Fox (Diane Ures) Miranda Cosgrove (Lisa Brown) Enver Gjokaj (Vincent Bernard) Haaz Sleiman (Thomas Dahan) Emma Hebda (Young Jennifer Miller) Audrey Looye (Margaret Valin) Faith Alexis Oliver (Jennifer Miller)

A group of astronauts living in the haunting emptiness of deep space awake to find Earth has suffered an extinction level event.

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3022 (2019)

Rating: ★★.

Director – John Suits, Screenplay – Ryan Binaco, Producers – Tara L. Craig & John Suits, Photography – Will Stone, Music – Jimmy Lavalle, Visual Effects – AldeaVFX (Supervisor – Daniel Calvo), Production Design – David Dean Ebert. Production Company – The Squid Farm/Bondit Media Capital/Octane Entertainment/Title Media/Natural Selection Productions/Hideout.

Omar Epps (Captain John Laine), Kate Walsh (Jackie Miller), Angus MacFayden (Richard Valin), Miranda Cosgrove (Lisa Brown), Enver Gjokaj (Vincent Bernard), Jorha Fox (Captain Diane Ures), Haaz Sleiman (Thomas Dahan)

The year 2190. Pangea space station has been constructed as a refuelling station between Earth and a base established on Jupiter’s moon Europa. John Laine captains the four-person American crew that has been sent to man the station for a ten-year mission. Five years in and all of them are starting to go stir crazy. Communications with Earth is abruptly lost and all efforts to re-establish contact only results in silence. They realise that something must have happened to the Earth and that they could be the only people left alive. As this sinks in, their mental state deteriorates even further.

--> 3022 was sixth film as a director for John Suits. Suits had previously made the horror film Breathing Room (2008), the non-genre likes of Family of Four (2009) and 2nd Take (2011), The Scribbler (2014), an SF film about multiple personalities, Pandemic (2016), a zombie film shot from First Person Shooter perspective, and the SF film Breach (2020). Suits has far more credits as a producer with the New Artists Alliance production company, headed by he and his business partner Gabriel Cowan. Their films include the genre likes of Growth (2010), Extracted (2012), Static (2012), Bad Milo! (2013), Cheap Thrills (2013), 400 Days (2014) and Fear, Inc. (2016).

3022 comes with a solid and interesting premise – what if a group of people on a space station were the only ones to survive the destruction of the Earth? We’ve had various films about the last survivors on a space expedition before. The really cheap Doomsday Machine (1972) featured a plot where a crew of three men and three women were sent out to survive the destruction of the Earth before falling to in-fighting. There was also Defcon 4 (1985), which had a group of people in a space station orbiting Earth surviving a nuclear holocaust below. Although the film that actually comes the closest to this is the little seen Love (2011) about a lone astronaut abandoned aboard the International Space Station after contact with Earth goes dead. Subsequently we had George Clooney’s The Midnight Sky (2020), which had a lone scientist trying to communicate with the crew of a returning space mission following an extinction catastrophe on Earth; Rubikon (2022) with three survivors about a space station as an environmental disaster wipes out all life on Earth below; I.S.S. (2023) about the tension between US and Russian on the International Space Station when nuclear war breaks out between the two sides on Earth; and the Chinese Moon Man (2022), a comedy where a sole astronaut is the last person left alive after the destruction of the Earth by an asteroid.

It took me a long time to get into 3022 . The characters are unlikeable and unengaging. We see them at the end of their mental tether slowly falling to pieces even before the disaster has begun. There have been good films made about this before – see Solaris (1972) and Dark Star (1974). On the other hand, all that John Suits seems to do is observe how dull and tedious life is aboard the space station. The main problem is that films that try to portray the dullness of a space mission end up being well dull. The prime example of this is Voyage to the End of the Universe (1963), while the thing that people always criticise about 2001: A Space Odyssey (1968) is that the space scenes are dull. The only film that made the monotony of the space mission work for it was Dark Star where everything was played as a comedy.

The film does perk up in around the last 30 minutes when a group of other survivors are introduced. This does give the film some much needed drama, even if after that point the only direction the film takes is the familiar plot of the crazed crewmember who is endangering the entire mission – an idea familiar from films like Supernova (2000), Sunshine (2007) and The Last Scout (2017).

I held hope for 3022 – I did enjoy Suits’s Pandemic . But 3022 is a dour and uninteresting film. It is not even a film that falls into the new genre for scientifically realistic space movies following hits like Gravity (2013) and The Martian (2015). Suits does nothing to make the station seem scientifically credible – the wheels of the station rotate but everyone seems to walk normally and the corridors of the station don’t curve. Nor for that matter is there any discussion about how the crew are able to sustain food, air and other supplies for three years after the Earth is gone.

The title has also caused some confusion where most people, including myself, assumed that it is the date when the film is set. You end up puzzled when the opening scenes tell us that the setting is in the year 2190 while the story covers through to the year 2198 – a disparity of 824 years. However, if one looks closely in the concluding scenes, you find that 3022 actually refers to the number of days that the crew end up being aboard the space station. You cannot help but feel that this confusion could have been more judiciously cleared up when it came to titling the film. -->

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2019 Directed by John Suits

Mankind's last hope.

A group of astronauts living in the haunting emptiness of deep space struggle to cope after Earth suffers an extinction-level event.

Omar Epps Kate Walsh Angus Macfadyen Jorja Fox Miranda Cosgrove Enver Gjokaj Haaz Sleiman Audrey Looye Brent Yoshida Sara Tomko Brandon English

Director Director

Producers producers.

Tara L. Craig John Suits

Writer Writer

Ryan Binaco

Editor Editor

Cinematography cinematography, executive producers exec. producers.

Giles Daoust Potsy Ponciroli Ryan Noto Jack Campbell Matthew Helderman Kathryn Lyn Shanan Becker Bill Bromiley Ness Saban Luke Taylor Catherine Dumonceaux Jonathan Saba Shannon Houchins Trevor O'Neil

Stunts Stunts

Van Ayasit Aaron Hawley Richie Parker Rosslyn Luke Brandon Shealy

Composer Composer

Jimmy LaValle

Hideout Pictures Natural Selection The Squid Farm

Alternative Titles

3022 - Életben maradtak, 3022: 지구 대폭발

Science Fiction

Monsters, aliens, sci-fi and the apocalypse Imaginative space odysseys and alien encounters Action-packed space and alien sagas Thought-provoking sci-fi action and future technology Dangerous technology and the apocalypse Show All…

Releases by Date

Theatrical limited, 22 nov 2019, 01 oct 2020, 07 jan 2020, 16 oct 2020, releases by country.

• Physical 16
• Theatrical T
• Theatrical limited R

90 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Dina ▪️🔹 ★★★ 1

iCarly was the best part

Review by Kaleb ★★ 3

The biggest problem with this movie is it doesn’t feel like it’s actually set in 3022. It feels older then Alien honestly. The acting is good enough to keep this from being awful, because it doesn’t have much really going for it.

Review by London ★

Real real REAL bad. Regularly forgets it's characters reasons for living, their motivations, and their personalities. It's just small clusters of terrible dialogue attempting to grasp ideas that are too large for the creators to convey properly. It's very poorly strung together, and very early on the movie eliminates the only two interesting characters.

Its very very dull and that was surprising as hell. It has moments of insanely dumb dialogue or god awful CG that were fun to laugh at, but the vast majority of the run time is spent waiting for something engaging or interesting to happen. It sadly never really comes.

Review by Arf Ortiyef ★½ 1

when it finally got to the last scene after what felt like three hours, my only thought was, "wow. those utility shelves look just like mine."

Review by dani ★★★

miranda cosgrove did not live life, breathe air && certainly did not know she wasn’t gunna get there

Review by Logan Corsaut

if this isnt about the space olympics im suing

Review by MovieQueenz ★★

As good as the trailer for this movie made it, it sadly just didn’t do it for me. Found it difficult to engage with the storyline and found myself constantly distracted and unfocused throughout the movie

Sadly it just didn’t do it for me

Review by GrandOldBastard ★★½

I'll sit through anything for milf goddess Kate Walsh.

Review by MisterBibs ★★

Why not, right?

The blurb you saw on the Letterbox page explains the gist of the movie: there's a space station, something happens to Earth, and we deal with people who aren't handling it very well.

It's not a bad movie overall, it's just kinda... there. The actors do quite well for what they are asked to do, but what they are asked to do is the kind of cliched "people alone on a space ship" stuff you've seen a lot of times before.

Really, the problem is that there's not a ton of meat on the bones. There are things that happen , sure, but if you've seen a sci-fi disaster film, you kinda see where it's going.

And I'm hesitant to say this because it's kinda a spoiler, but like I said, the Plot Going Forward Event kinda doesn't get any explanation. Sure, within the context of the movie it makes sense that there's not, but... shit, still annoying.

Review by JulesLarson ★★

Omar Epps gets his Solaris at an inconceivable cost! Gotta respect it.

Review by Yolkysasquatch ★

Wow, only 874 LB users have watched this, I feel special! I think it’s best for everyone that we keep that number from increasing.

Review by Heather Santrous ★★ 2

I decided to watch something a little different from my usual style of movies. I went with a sci-fi movie but should have picked out a better movie apparently. Not that this was a bad movie, it just didn't have the best plot. Mankind has a new home on one of the moons of Jupiter and there is a station about halfway that has a crew stationed there for ten year periods. The newest crew is there around the halfway mark when the doctor feels the Captain isn't doing so well and will be suggesting a new crew take their place. Before he can do that though, something happens and they lose all contact with Earth. Fearing the worst, they…

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Watch the Earth Explode From Space in the Trailer for 3022

Coming home and realizing you don’t have a home anymore is just about the scariest thing imaginable. In 3022 that nightmare gets taken globally, as a group of astronauts witness the destruction of the planet Earth right before their eyes.

Related Content

That’s the set up for 3022 , a new film from director John Suits, which stars Omar Epps, Kate Walsh, Miranda Cosgrove, Angus MacFayden, and more. io9 is excited to exclusively debut the trailer for 3022 right here, right now. Check it out.

So what’s next? Well, a whole lot of existential trauma. After all, how does a human being psychologically process the fact not just their house or something, but the entire Earth is gone. Your home. Your family. Culture. Art. Everything. And now it’s just you, and a few people you maybe don’t even like, floating in space in a metal box with no place to go. It’s a terrifying scenario—one that, hopefully, 3022 explores in an interesting way.

We’ll find out for ourselves, when 3022 opens November 22 in theaters and on-demand.

For more, make sure you’re following us on our new Instagram @ io9dotcom .

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3022 (2019)

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You can buy "3022" on Amazon Video, Google Play Movies, YouTube, Vudu, Microsoft Store, Apple TV as download or rent it on Microsoft Store, Apple TV, Amazon Video, Google Play Movies, YouTube, Vudu online.

A group of astronauts living in the haunting emptiness of deep space struggle to cope after Earth suffers an extinction-level event.

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Tv/streaming, collections, great movies, chaz's journal, contributors, rebel moon - part two: the scargiver.

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Will there ever be a version of “Rebel Moon—Part 2: The Scargiver” that makes the movie and its franchise seem essential? Director and co-writer Zack Snyder has already tried to whip up his fanbase by teasing “R-rated” versions of the first two entries in his ongoing “ Star Wars ” ripoff cycle, a lifeless homage to that other IPed-to-death sci-fi series. The well-covered struggle to release the Snyder cut of “ Justice League ” notably improved what was only ever a passable super-programmer. It’s also established an unfortunate precedent for how “Rebel Moon” is now being advertised, as a victim of its own release strategy.  

Unfortunately, while I can’t review a version of “Rebel Moon—Part 2: The Scargiver” that I wasn’t allowed to see, I can say that I doubt more (or just more extreme) violence and sex will improve this joyless expansion of the previous movie’s Kurosawa-sploitation space opera. The shortcomings that kept the first “Rebel Moon” from ever taking off are still apparent in its sequel, particularly Snyder’s disinterest in his actors’ performances as well as this movie’s vast array of bland visuals and flavorless dialogue. Like the last one, the latest “Rebel Moon” looks like it was rushed through production to compete with whatever “Star Wars” series is now streaming on Disney+. The Snyder faithful may see something in “Rebel Moon—Part 2: The Scargiver” that the rest of us can’t, but that doesn’t make this tired sequel any less puny.

Previously on “Rebel Moon”: A group of misfit rebels banded together and seemingly defeated the Imperial Space Nazis, led by the goofily accented Regent Balisarius ( Fra Fee ) and the lanky rage-case fascist Atticus Noble ( Ed Skrein ). Noble was killed at the end of “Rebel Moon—Part 1: A Child of Fire,” but even the end of that movie hinted that he wouldn’t be dead for long. Sure enough, he’s back again and now angry enough to retaliate against the smalltown farmers of Veldt, an idyllic moon with Smallville-style fields of space-grain, Oshkosh B’gosh catalog-ready space-farm children, and “Asterix”-type longhouses, too. 

Who will save the people of Veldt, represented here by the young and ripped hunter Den ( Stuart Martin ) and the older but also chiseled Hagen (“ A White, White Day ” star Ingvar Sigurdsson )? The same motley crew as last time, still led by the scowling ex-general Titus ( Djimon Hounsou , the generically mysterious Kora ( Sofia Boutella ), and her unconvincing love interest Gunnar ( Michiel Huisman ), the last of whom is also from Veldt. In case you’re wondering what else has changed since the last “Rebel Moon”: there’s a scene where our heroes share what they’re really fighting for, which they emphasize through momentum-throttling, voiceover-smothered flashbacks. 

Among other acknowledged influences on the “Rebel Moon” movies, Snyder claims kinship with the graphic-design-forward and stoner-friendly “Heavy Metal” brand of comics, an inspiration that Snyder teases in Martin’s character name (named after Richard Corben’s serialized space-barbarian “Den” comics). I don’t see it, and it’s not because Martin isn’t obviously trying to emphasize the sheer immensity of his emotions. I imagine that Den never lives up to his namesake because of of Snyder’s blunted vision and not Martin or his performance. For supporting evidence, see how often intensity and action figure poses stand in for character and detail in just about everyone else’s performances.

More is often less in “Rebel Moon—Part 2: The Scargiver,” not only when it comes to the movie’s sweaty, vein-activating performances, but also its over-exaggerated and under-choreographed action scenes. Kora and Gunnar’s overblown romance is also defined by bold, sweeping hints at romantic passion, like when he unbelievably confesses to her what motivates him: “It was you. It was losing you.” Never mind the gawky adolescent phrasing and the unbelievably flat line-reading—this gesture towards big-ness exemplifies the Snyder-y style of “Rebel Moon,” a series whose sound design is always more convincing, in both its nuance and sheer volume, than whatever’s on-screen. 

Seeing “Rebel Moon—Part 2: The Scargiver” in a theater would probably be the best way to go, since that way you can hear the movie loud enough to imagine you’re watching something better. Then again, the fact that Netflix produced both movies—their most expensive production of 2023!—and is apparently now releasing at least two cuts per installment, suggests that not many people will be able to see this movie beyond their living rooms. In this light, it’s hard to imagine the necessity of a separate R-rated version of either movie. 

The problem with the “Rebel Moon” movies isn’t that they need to be bigger or heavier to be better. If everything else feels as anemic and negligible as the non-sexual scenes in a floppy, overproduced porno, then I don’t think that adding more of everything will greatly enhance anything. 

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Rebel Moon - Part Two: The Scargiver (2024)

Rated PG-13

123 minutes

Sofia Boutella as Kora

Michiel Huisman as Gunnar

Ed Skrein as Atticus Noble

Djimon Hounsou as Titus

Bae Doona as Nemesis

Staz Nair as Tarak

E. Duffy as Milius

Anthony Hopkins as Jimmy (voice)

• Zack Snyder
• Shay Hatten

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‘Rebel Moon — Part Two: The Scargiver’ Review: An Even More Rote Story, but a Bigger and Better Battle

The second chapter of Zack Snyder's intergalactic epic is every bit as derivative as "Part One," but the climactic showdown sizzles. And guess what? It may not be over.

By Owen Gleiberman

Owen Gleiberman

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But it’s all working up to the rebels-meet-the-fascists battle royale, and when Snyder is in his action element, as he is in the last 45 minutes of this movie, he can be as dazzling a genre stylist as James Cameron was in the ’80s. I can almost imagine a trailer for “Rebel Moon — Part Two” with the narrator intoning, “In a world where every movie blows up real good, Zack Snyder really blows this shit up good.” He’s a master of disaster, of putting the metal on screen, of dreaming a dream and watching it detonate. This time, though, even the fanboys may have to convince themselves they care.

At the end of “Part One,” Kora, leading the motley crew she’d gathered to fight the Motherworld, had won a duel to the death with Atticus Noble, the evil admiral who, as played by Ed Skrein in a fade topped by scary Roman Nazi bangs, is like Freddie Mercury as a Shakespearean sociopath. But even though she killed him, the Motherworld technology resurrected him. As “Part Two” opens, his body is still lying in a pool of gel, with wires sticking out (very “Frankenstein,” and also very “Dune”), but he’s utterly alive. He soon proves that he’s back to his old tricks by lifting up his Darth Vaderish black-metal-masked henchman as if Atticus himself were Darth Vader. (The henchman cautiously advocates that Atticus undergo more medical tests; for that advice, Atticus smashes his head in.)

With its force of evil revived, and newly messianic, “Part Two” settles into a plot that could hardly be more basic. Kora and her team return to Veldt, where they prepare the noble farm community for battle. Atticus and his military machine plan their own return visit so they can smash the rebellion, with extreme prejudice shown toward the mission of assassinating Kora. She’s the Scargiver because of the circular chest wound she gave to Atticus during their big duel.

The gigantic Motherworld ship arrives just as it did last time, hovering over Veldt in broad daylight, only now Kora is prepared. She, along with Gunnar, infiltrate it in a mini-ship of their own. Once inside, she plants strategic explosives and seeks out her nemesis, and the film cuts to the battle below, which oscillates between rock ‘n’ roll sci-fi gunfire and hand-to-hand savagery and the immensely gratifying ain’t-that-a-kick-in-the-head sight of war ships blowing up from inside, all set to one of those neo-Hans Zimmer scores of droning dread.

Reviewed at Digital Arts, New York, April 18, 2024. MPAA Rating: PG-13. Running time: 122 MIN.

• Production: A Netflix release of a The Stone Quarry, Grand Electric production. Producers: Deborah Snyder, Eric Newman, Zack Snyder, Wesley Coller. Executive producers: Bergen Swanson, Sarah Bowen, Shay Hatten, Kurt Johnstad.
• Crew: Director: Zack Snyder. Screenplay: Zack Snyder, Kurt Johnstad, Shay Hatten. Camera: Zack Snyder. Editor: Dody Dom. Music: Tom Holkenborg.
• With: Sofia Boutella, Djimon Hounsou, Ed Skrein, Michiel Huisman, Doona Bae, Anthony Hopkins, Staz Nair, Fra Fee. Cleopatra Coleman, Stuart Martin.

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