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The returns are in from Europe and the coasts, and the critics have found Roman Polanski's "Bitter Moon" an embarrassment: It is too melodramatic, too contrived, too overwrought, too overacted. Polanski has come unhinged. His portrait of a doomed marriage may be high porn but it is low art.

What bothers some of the critics, I suspect, is the audacity which Polanski exhibits by casting his own wife, Emmanuelle Seigner , in the central role -- as a voracious seductress with black widow tendencies, whose amusement is to blind men in the headlights of her sexuality, and step on the gas. But "Bitter Moon" is nothing if it is not audacious, Polanski is far beyond concern over matters of taste, and his wife at least never seems miscast in a role which would have stopped many another actress cold in her tracks.

His story unfolds aboard an ocean liner, where an embittered husband, paralyzed and in a wheelchair, buttonholes a complete stranger and begins to tell him the story of his marriage. The stranger would like to escape, but cannot. For one thing he grows fascinated by the story. For another he is mesmerized by the man's wife, who has perfected that trick of looking a man boldly in the eye until, by looking away, he concedes sexual supremacy. Hour after hour, day after day, the sordid story unspools, and in flashbacks we see a romance that turns into a dangerous obsession.

Oscar, the man in the wheelchair is played by Peter Coyote , as a sardonic, self-loathing drunk who frankly holds out the bait of his wife as a lure to keep the stranger listening. Nigel, the stranger is a well-behaved, bashful Englishman (played by Hugh Grant , in much the same role he also plays in " Sirens " and " Four Weddings And A Funeral "). Seigner is Mimi, Oscar's wife, a bold exhibitionist.

And Kristin Scott Thomas is Fiona, Nigel's wife -- a cold, distant, somewhat dry woman who would seem to offer little competition for Mimi's juicy come-ons.

As Oscar describes how he met Mimi, we see their marriage in long flashbacks. At first it is a romance, pure and simple. Then boredom begins to creep in -- and, worse, antidotes to boredom. Mimi likes sadomasochistic fun and games. Oscar is fascinated. The two of them retreat into their marriage and pull the door closed behind them; in a kind of game of sexual chicken, they go farther and farther, acting out kinky fantasies until finally . . . well, we find out how Oscar ended up in the wheelchair.

These stories should act upon Nigel as a warning, but, predictably, he is fascinated. He starts telling lies and making excuses to Fiona, so he can spent more time with Oscar . . . and, it is hinted, Mimi. At first it seems that Oscar is the puppetmaster, but then it appears that he and Mimi may be up to a new game, with Nigel as the prize. We can't be sure, and that is one of the movie's pleasures: Somehow we know that although anything else may happen, Nigel will probably not end up with Mimi.

The word "lurid" was coined to describe films like this.

Like all stories dealing with the extremes of sex, it arrives at moments when we can barely prevent ourselves from laughing. (There is a reason for this: S&M combines humorless scenarios with absurd choreography.) It is the easiest thing in the world to walk out of a movie like "Bitter Moon" shaking our heads wearily and complaining about Polanski's bad taste, grotesque situations and fevered imagination. The purpose, of course, is to prove that we didn't fall for it: That we are much too mature, serious and well-balanced to be taken in by his juvenile fantasizing. Well, of course "Bitter Moon" is wretched excess. But Polanski directs it without compromise or apology, and it's a funny thing how critics may condescend to it, but while they're watching it you could hear a pin drop.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Bitter Moon (1994)

Rated R For The Strong Depiction Of A Perverse Sexual Relationship

139 minutes

Peter Coyote as Oscar

Emmanuelle Seigner as Mimi

Hugh Grant as Nigel

Kristin Scott Thomas as Fiona

Written and Directed by

• Roman Polanski

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BITTER MOON [1992]

BITTER MOON (1992)

AVAILABLE ON BLU-RAY [REGION ‘A’ AND ‘B’ ITALY ONLY], DVD and DIGITAL

RUNNING TIME: 139 mins

REVIEWED BY: Dr Lenera

British couple Nigel and Fiona Dobson are on a Mediterranean cruise ship to Istanbul en route to India, celebrating their seventh wedding anniversary. They encounter French woman, Mimi, and her much older and disabled American husband Oscar, who’s cynical and a failed writer. Oscar invites Nigel to his cabin where he tells him the story of their relationship, a relationship that explored many kinds of sexuality and was very much of the love hate variety. After each installment, Nigel relates all to Fiona while becoming increasingly fascinated by Mimi who seems to provoke him..

I didn’t really get Bitter Moon when it came out. Was it supposed to be a dark comedy or nihilistic melodrama? Why were its sexy scenes so unsexy? What was the point of the roles played by Hugh Grant and Kristin Scott Thomas except to have yet another situation of an English sap excited by the possibility of a fling with a sexy French woman? Why does Emmanuelle Siegner’s character seem to have several personalities? But of course viewing at again after so many years provided the answers to all of those things and that is was actually a very fine, perceptive film which, despite its over the top elements, manages to ring true in many ways. Its depiction of love is a wicked one, but I reckon that most people who’ve actually experienced relationships will be able to relate to its themes of possessiveness and destruction, of selfishness and selflessness, or revenge and acceptance, and of all-consuming desire – it’s just that it’s all heightened in that somewhat absurd, somewhat funny and somewhat disturbing Roman Polanski way, the story being another opportunity for him to again explore some of his favourite themes such as madness and how one can be both torturer and victim, in what is partly a throwback to his first feature A Knife In The Water, which had three characters on a boat involved in emotional and sexual games. He perhaps pushes things when he seems to go for blatant corniness which he rarely did, but it seems to me that this is deliberate; firstly he’s being deliberately ironic, and secondly he’s just having fun. Polanski’s humour often doesn’t work for many but Bitter Moon does have a surprisingly light touch considering its plot, and understands that, if you look at things from different angles, life can sometimes be funny and cruel at the same time.

The source material was the 1981 novel ‘Lunes de fi el’ [a pun  on ‘Lune de miel’, the French word for “honeymoon] by Pascal Bruckner, which was eventually published in England and the United States under the title ‘Evil Angels’. Polanskii had lost some of his reputation by the time he became interested, and hadn’t had a hit since Chinatown in 1974. In the ’80s, Pirates was a huge flop, though the modest Frantic was a minor success. He and his usual collaborator Gerard Brach planned to make a film of Mikhail Bulgakov’s darkly comedic religious novel ‘The Master and Margarita’, but backers Warners backed out due to expense. However, Bitter Moon was more to their taste as it would require less money to be spent on it. He, Brach and John Brownjohn changed a fair bit, including the names, lowering the age ofnMimi who was originally a similar age to Oscar, and the ending where Nigel originally was put in a Turkish prison. Polanski wanted Jack Nicholson to star, then when he was unavailable went for James Woods who dropped out. Peter Coyote threw himself into the role and improvised when a dog wouldn’t lick his toes while his character was being fellated; he just grabbed the dog as he was supposed to climax and Polanski left it in. A scene involving a golden shower was in the script, but Polanski cut it, saying it would be better just spoken of, but would it have passed the censors? It was shot at the Paris Studio Cinema, Billancourt, several Paris locations and the ‘MTS Odysseus’. It did okay business in mainland Europe but the delayed by two years US release flopped, partly because by then Polanski had made another film – Death And The Maiden – which got released around the same time and which, due to its nature, got much more critical attention and respect even if it was hardly a hit.

The opening shot under the titles is of the sea like in countless much older movies, a calm sea that will of course get stormier as things get stormier inside the ship involving the main characters. Polanski at his cheekiest in this film; at one point tensions raise in a restaurant and Mimi later comes home to see an angry Oscar watching Once Upon A Time In America on TV, and the scene where Noodles takes Deborah for a meal in a lavish restaurant which has the most horrible aftermath. Another scene in a restaurant refers to a one in Blood For Dracula which Polanski acted in, while another has two characters have sex in a room but we don’t see it; instead the camera slowly tracks away from them to alight on somebody else’s pained reaction. Archetypal repressed English couple Nigel and Fiona seem to have wandered in from a Merchant/Ivory production; look out for the bit where he sets off for Nigel’s room but briefly comes back into his and Fiona’s room to grab his blazer. They find Mimi very seasick in the toilets and help her out; then Fiona goes to bed early because she’s supposedly boring and Nigel goes to the bar where Mimi is dancing on her own to the jukebox. His attempt to chat her up is a total disaster, though one can chuckle rather than yawn because this was 1992 and the hugely annoying screen persona that Grant adopted hadn’t really become a thing yet. Then he meets her wheelchair-bound husband Oscar. “Look what she did to me” he says, letting us know already the main event that happens much later in the film. Should this have been withheld from us so it’s a surprise later?

Oscar gets Nigel into his room and starts to tell him and us a story. He spouts cliches and tries badly to be poetic, but I don’t think that this is because of bad screenwriting. It’s because Oscar is a struggling writer who, even when he does become capable of producing something, never gets anything published, so his telling of this tale would obviously show the low quality of his writing and also show his ego in finally having an audience. After his first sex with Mimi, his narration treats us to: “Nothing ever surpassed the rapture of that first awakening. I might have been Adam with the taste of apple fresh in my mouth. I was looking at all the beauty in the world embodied in a single female form and I knew, with sudden blinding certainty, this was it!” He first sees her on a bus numbered 69 [no doubt deliberately], sat at the back so we notice back projected streets outside the so-called window behind her even though by 1992 few filmmakers would have used back projection for this shot. She doesn’t have a ticket, so he secretly gives her his and gets off the bus. Totally besotted, he hangs around the buses and bus stops in the area and then, when she comes to serve him in a restaurant, ignores his date to go and ask her to go out to dinner with him as well! They spend the whole night getting to know each other then, when he brings her breakfast, she’s the one who initiates sex which takes place by a fire with very cliched closeups. Everything is a bit rose tinted and soft, with some of Vangelis’s dreamiest music of the period, the couple take a fairground ride on separate cars and touch hands in slow motion while he tells her that he loves her; it’s almost too much, and that’s intentional, because things rapidly change with a cut to them both in wedding gear; but they aren’t married, they’re still at the fairground.

He may say that he loves her but considers sex to be the only thing of importance. She certainly loves him and is very needy so she complies. But when the physical side of things peaks so early, things can run out of steam if a relationship lacks depth, and Oscar and Mimi desperately resort to things like role playing, bondage and voyeurism to maintain interest. Eventually Oscar dumps her so he’s free to resume his favourite pursuit; having as many flings as possible. Mimi begs him to take her back, and he does. When she played the role of the dominant it was all about pleasing him in the bedroom, but now he’s the one in charge, and he takes domination totally for real with emotional and psychological cruelty, from saying somebody else’s name in bed to telling her she looks like his neighbour’s dog, revealing his true colours as a person. Mimi seems willing to take a lot, but she will take her revenge, thereby reversing the roles. Even though Seigner shows all several times, there’s very little sex actually seen on screen and some scenes, notably Oscar on all fours making pig noises and wearing a pig mask, aren’t erotic except for a very small sector of society, but I don’t like Polanski is trying to be sexy, he’s trying to emphasise the absurdity of this couple attempting to continuously push the boundaries while seemingly not knowing that they shouldn’t need to. And he’s also just having fun. At one point Mimi spills milk all over herself at breakfast and approaches Oscar, who quickly obliges to ‘clean it up’. As their passion pushes their writhing bodies towards a state of heightened sensation, smoke rises from the toaster in the background. As Oscar groans with pleasure, the two burnt pieces of toast pop out and arc gracefully to the floor.

Nigel listens and acts embarrassed and shocked but maybe wants to experience some of this excitement with Mimi. He’s a fill in for us, who can also ask moral questions like do we or should we accept a relationship like this? Surely people should be able to do what they want in their own homes, yet this affair is destructive to both participants. Fiona is enigmatic, supposedly boring yet revealing a hidden nature twice towards the end. I said at the start of this review that Mimi seems to have several different personalities, but these days I don’t always see that as a flaw, because, actually, many of us have several different personalities, and Mimi is an insecure, needy woman who’s treated so poorly that she snaps. We like her much more when she takes control and gives it back to Oscar than when she was the pathetic doormat, while Oscar we never warm to even if we may have have some pity for him. Coyote doesn’t really let us in, but maybe that was the intention. Seigner, in only her second role, is simply astonishing in her complex part. Performers rarely get a chance to go as far in today’s staid film environment. I don’t see the point of the Indian father and daughter Nigel and Fiona meet on the ship, unless it’s to provide a dignified antidote, and I wasn’t sure we needed to have a comic bar fight near the end with even a couple of martial arts moves, even though I enjoyed it all the same. But Bitter Moon is a major later work from Polanski which deserves much re-evaluation; it’s had some but not as much as it deserves, though that’s unlikely for a while seeing as we currently live in a hysterical, controlling, backwards PC climate where Polanski’s award winning latest film is only being shown in cinemas and/or home media in a few mainland European countries with no English subtitles. But at least we can appreciate his cautionary tale of passion going wrong, his acerbic, funny yet perceptive and penetrating look at relationships which reminds us that we all have those dominant and submissive elements within us that we can use for fun or for real. And I have the feeling that the story of Nigel and Fiona is only just beginning.

• Emmanuelle Seigner
• Gérard Brach
• roman polanski

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Bitter Moon Review

01 Jan 1992

139 minutes

Bitter Moon

Very much indicative of Roman Polanski’s skittish middle years, post Chinatown and before his return to glory with The Pianist, this sordid tale of sexual obsession, told with blithering complexity through a series of flashbacks, would be too terrible for words if you didn’t notice the blackly comic edge. How else to swallow such preposterous caterwauling about love gone wrong, which reduces Polanski’s poor actress wife, Emmanuelle Seigner, and aging American actor Peter Coyote, to acts of such depravity neither have recovered much of their poise since.

The set-up has us compare the prudish, and by association, sexless marriage of Hugh Grant and Kristen Scott Thomas (some 2 years before Four Weddings), with this severely het-up couple’s episodic tapestry of kinky bed-hopping. Memoirs so laughably overwrought they make The Last Tango In Paris seem the soul of credibility. There is crassness rather than danger in the G-strings and pig-mask role-playing that Polanski unveils as the ultimate debasement of romance. If low on urge, try whips, psychological torture and physical violence. Don’t they believe in divorce in Paris?

In the director’s head, this is some Grand Guignol parable on modern marriage, part film noir, part porn movie, but it creeps along painfully slowly barely mustering a turn of events let alone a solid twist. Mimi, of course, is the other player in the tryst, and Nigel (Grant doing what he does best – twittering) is drawn to her both in person and through the extremities of her story. Of course, without giving too much away, this nasty game is still ongoing, the entrapping of this priggish couple, the very next move. As it all ends with a preposterous last gambit, you really become convinced Polanski just wants to have a big old laugh.

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Bitter Moon Reviews

• 62   Metascore
• 1 hr 55 mins
• Drama, Suspense
• Watchlist Where to Watch

Roman Polanski's tale of an American expatriate (Peter Coyote) who involves a British couple in his destructive marriage. Emmanuelle Seigner. Nigel: Hugh Grant. Fiona: Kristin Scott Thomas. Sing: Victor Banerjee. Amrita: Sophie Patel.

Happily, if coolly, married couple Nigel (Hugh Grant) and Fiona (Kristin Scott-Thomas) learn the meaning of the phrase "fate worse than death" when they're trapped on an ocean liner to India in the company of a disagreeable cripple named Oscar (Peter Coyote), who regales them--mostly Nigel--with the dreadful story of his grand romance. Director Roman Polanski's contention that it's all meant to be howlingly funny is hard to credit; though BITTER MOON is awful in a baroque sort of way, it smacks of sincerity at all the worst moments. Oscar is an unlikely Scheherezade, and perhaps that makes him all the more compelling--one suspects that the neat, prissy Nigel has never met anyone quite like this sneering American with yellowed teeth and long, dirty fingernails. Nigel knows he ought to feel sorry for him--the man's in a wheelchair, after all, so it's only the decent thing to do--but can barely repress his horror. "Eternity began for me one day in Paris," Oscar declares grandly, and explains that he left America to pursue dreams of writing a novel in the inspiring city of Ernest Hemingway and Henry Miller. His literary ambitions defeated by his own purple prose, Oscar instead turns his energies to Mimi (Emmanuelle Seigner), whom he meets one day on the bus. She's young and pretty and very French, and he decides that theirs is an all-encompassing love--the sort they write about in great novels--and pursues her with ardor and determination. Having already seen the overripe Mimi in the ship's bar, Nigel is intrigued, especially when Oscar hints that his reward for listening will be a night of unimaginable delight with her. Though Nigel loves his wife, their relationship has a friendly, sibling quality a world away from the erotic intensity that Oscar describes. Oscar tells his tale in installments, and Nigel listens with both increasing dismay--he objects to being used as "a rubbish tip for your unsavory reminiscences"--and perverse titillation, periodically returning to his cabin to give Fiona the odd peck on the cheek. Mimi and Oscar are besotted by one another, and their passion leads them to ever more exotic sexual practices. They explore bondage and fetishism, introduce pig masks, riding crops, urine, and vinyl clothing into their escapades. Finally, their lust is spent, and Oscar wants to move on. But Mimi clings, so Oscar torments her, hoping she'll just go away. Miserable, she gains weight. He gives her a bad haircut, makes her wear hideous clothes, humiliates her at home and in public, and ultimately says he's taking her on a Caribbean vacation, only to abandon her at the airport. Away she flies, out of his life. Or so he believes. He, more debauched than ever, has an accident that puts him in the hospital. She, newly slimmed down, comes to visit and cripples him for good. She becomes his nurse, and glories in the reversal of power, making his life a misery in a thousand fiendishly petty ways. By this point in the telling, it's New Year's Eve, and Nigel is beginning to wonder when he's going to collect his reward. Imagine his surprise when Mimi and the neglected Fiona, resplendent in a swank ball gown, share a sultry dance and then repair to a private cabin. The whole bad business comes to a predictable, overwrought conclusion--Oscar shoots Mimi, then himself--and leaves Nigel and Fiona sadder but wiser. A boat, a troubled marriage, a miasma of erotic tension: BITTER MOON sounds like a return to KNIFE IN THE WATER territory, which is to say, a return to what director Roman Polanski does best. But it's not; it's a dreadful misfire, a queasy exercise in excess that isn't erotic, isn't funny, and never achieves the status of mordant cautionary tale because it's impossible to figure out the moral (unless it's supposed to be contained in the gnomic pronouncements of an Indian family man, played by Victor Banerjee, that Nigel keeps running into on deck). Polanski and screenwriter Gerard Brach--collaborators on REPULSION (1965), CUL-DE-SAC (1966), THE FEARLESS VAMPIRE KILLERS (1967), THE TENANT (1976), PIRATES (1986), and FRANTIC (1988)--start off with the arch device of making their narrator a writer of extravagant talentlessness, but don't seem to know what to do with it. Viewers are simply condemned to an interminable series of overwrought anecdotes, made more difficult to bear by the way in which Polanski films his wife, the zaftig Seigner. Scarcely recognizable as the lithe beauty of FRANTIC, she's crammed into a series of ever more unflattering outfits; the scene in which she demands to know whether she looks fat in an obscenely short rubber dress is made positively squirm-inducing by the low angle from which she is photographed. Not since Isabella Rossellini in BLUE VELVET has an actress been so visually ill-served by her personal relationship with the director. BITTER MOON is entertaining, but in the manner of ghastly car crashes and legendary theatrical disasters; you can't take your eyes off it, but you often want to. (Profanity, nudity, sexual situations, violence.)

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Bitter Moon

• After hearing stories of her, a passenger on a cruise ship develops an irresistible infatuation with an eccentric paraplegic's wife.
• British couple Fiona (Dame Kristin Scott Thomas) and Nigel (Hugh Grant) are sailing to Istanbul en route to India. They encounter a beautiful French woman, and that night, Nigel meets her while dancing alone in the ship's bar. Later, he meets her crippled American husband Oscar (Peter Coyote), who tells him their story. While living in Paris for several years trying to be a writer, he becomes obsessed with a woman he met by chance on a bus. He tracks her down and they start a steamy love affair. Soon, Oscar finds himself enslaved body and soul by her love, and continues to tell Nigel the details of this relationship in various stages over several visits to Oscar's cabin. — Sami Al-Taher <[email protected]>
• Nigel (Hugh Grant) is an English perfect gentleman, married to equally respectable Fiona (Dame Kristin Scott Thomas). On a cruise heading for India, they meet a highly unconventional couple, American unpublished would-be literary celebrity Oscar (Peter Coyote), in a wheelchair, and his much younger Parisian wife, Mimi (Emmanuelle Seigner). Oscar insists in telling his unsettling life story to Nigel, who is too polite to refuse, although its gory content, shamelessly explicit details, and foul Yankee language rather disgust the well-bred Brit, yet becomes also fascinated. Oscar tells how he found by chance in Mimi, a willing partner for sex, ever pushing their boundaries. When he tires of spiralling passionate devotion to her, the tables turn: Mimi begs Oscar to stay with her at any price, and gets what she bargained for, sadistic scorn and abuse till she's a mere shadow of her former self, yet is finally abandoned on a flight to Martinique. Later, Oscar has a car accident, and Mimi returns to Paris to make sure he is condemned to a wheelchair for life, this time utterly dependent on her, no longer free to choose accepting her abuse, yet they get married. Meanwhile, Fiona tires of waiting for Nigel during Oscar's story sessions and spends time with flirtatious Italian Dado (Luca Vellani). During the New Year's Eve party, things come to a surprisingly real and personal closure, not in the least for Nigel. — KGF Vissers
• In high hopes of rekindling the passion in their lukewarm marriage, Nigel, a somewhat timid, well-behaved Englishman, and his reserved wife, Fiona, embark on a second honeymoon aboard a luxurious ocean liner. But there, between Martinis and meaningless conversations with strangers, the young couple has a chance encounter with the voracious French temptress, Mimi, and her failed author husband, Oscar: a cynical, self-loathing wheelchair user with a plan. Little by little, as sardonic Oscar regales bashful Nigel with the lurid details of a dangerously obsessive, almost carnivorous relationship, a tale peppered with perverse pleasures and the dark side of love begins to unfold. Now, day by day, a strange but irresistible fascination consumes Nigel, who is convinced that his increasingly frequent visits to Oscar's cabin are the remedy for his stale love life. However, can Nigel hear the story to the bitter end? — Nick Riganas
• Nigel Dobson (Hugh Grant) and his wife Fiona (Kristn Scott Thomas) are a perfectly respectable British couple with nuances of gentlemanly life. They are on a cruise during their honeymoon heading for India. They meet an extremely sensual young woman of French origin called Mimi (Emmanuelle Seigner), extremeley flamboyant and Paris-cosmopolitan, and by means of her they come to meet American wanna-be author Oscar (Peter Coyote), a disabled man in a wheelchair. Oscar starts telling their love story to Nigel and Fiona. The latter finds it gruesome and unsettling, and doesn't want to know how it ends, but Nigel will become completely obsessed with the love-hate story of Mimi and Oscar. Oscar finds in Mimi, a student dancer, a willing partner for his almost hardcore sexual games, ever pushing their boundaries together. She is completely enraptured by him, and bows to his every whim. However, without any furthr reason that his caprice, he gets bored out of his wits about her. He is rude and wicked to her, and tells her that he'd rather she left him for good. Mimi packs her things, and is about to leave him forever. She has opened the door to the condo where they have been living together, but re-enters the flat again. She wants to stay no matter what. Life will be hell for Mimi from that moment on. He becomes really abusive towards her, and she puts up with everything. Their sexual antics become sadistic, full of anger and twisted mentality. I agree with some other reviewers into saying that Mimi becames a mere shadow of her former self. She has stayed with him, but life becomes a nightmare. She mus quit all her life and interests in order to pursue her obsesive love for him. She has to do things she doesn't really want to because if not, Oscar will sent her packing for good, and she knows this time there won't be a second chance. Finally, she becomes pregnant, and that's a door for her to lead a normal couple life with Oscar. They agree to leave France together and keep the child. However, Oscar's behaviour is selfish and rotten once more. He pretends to follow-suit her, but when they are both on the plane to Martinique, he leaves the plane with some dumb excuse. Mimi is completely distraught, and the audience will come to know what she did afterwards. She had an abbortion performed by some doctor who butchered her, and had to surpass a terrible infection on her own. The surgery and its consequences have left her uncapable of getting pregnant again, and that comes to a shock to her as well. Meanwhile, Oscar returns to his happy life: he goes to parties, gets drunk, and has sexual relations with all sorts of women. He doesn't seem to write much. Once, he is so drunk that he suffers a car accident which will leave him crippled for life. Mimi returns to Paris because, after all, her traumatic experiences have not made her to forget him. She won't forgive him, but the audience will come to know how much she loves him in spite of it all. She has become frustrated, angry, and wants revenge for everything Oscar has made he go through despite her love. She takes care of him, but in a twisted and cruel way. She doesn't allow him to talk to any of her former lovers, or go out of home without her. One of the prevert things she did is to hold a long conversation leavin Oscar in the full-of-water bath. While she's talking gayly, the water gets colder and colder, so Oscar has to leave the bathroom crawling like a worm. Mimi sees this with a half-smile onto her lips, and keeps on chatting as though without a care in the world. On another occassion, she gives him a present: a gun with a single bullet so that he can commit suicide. Coming back to the crouse, Fiona gets utterly fed-up of Nigel. She is afraid that he wants to have sex with Mimi, because she's constantly flirting with and giving hints to him. She tells him that she can do anything better than him, so she starts flirting with Dado (Luca Vellani) during Oscar's story sessions. Nigel looks for Fiona, and to his surprise, she finds her in bed after having made love with Mimi. Oscar had watched them while having sex. Both women are sleeping in a hug, and he shoots Mimi. Fiona is woken up because to the noise, and Nigel and Fiona leave the cabin together, deeply traumatized because of everything they have witnessed.

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Bitter Moon

Release date.

Jan 1, 1992

A perverse, dark-humored comedy drama, Bitter Moon crosses the line into intentional camp more often than not in its tale of a kinky cripple Oscar (Peter Coyote) and his beautiful wife Mimi (Emmanuelle Seigner). Oscar ensnares a proper British man, Nigel (Hugh Grant) on an ocean-liner and makes him listen to the twisted tale of his relationship with Mimi (related in lengthy flashbacks) and how erotic obsession turned to homicidal hatred. Nigel is married to Fiona (Kristin Scott-Thomas), but is captivated by Mimi and listens to Oscar's grotesque stories because of his fascination. Naturally, the whole thing ends in tragedy, but it's wicked fun getting there, as director Roman Polanski paces the film quite well and the cast (particularly Coyote) is wonderful.~ Robert Firsching, All Movie Guide

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Bitter moon.

1992 Directed by Roman Polanski

A kinky voyage with a full head of steam.

A passenger on a cruise ship develops an irresistible infatuation with an eccentric paraplegic's wife.

Peter Coyote Emmanuelle Seigner Hugh Grant Kristin Scott Thomas Victor Banerjee Sophie Patel Patrick Albenque Smilja Mihailovitch Leo Eckmann Luca Vellani Richard Dieux Danny Wuyts Daniel Dhubert Nathalie Galán Eric Gonzales Jim Adhi Limas Boris Bergman Olivia Brunaux Heavon Grant Charlene Geoffrey Carey Robert Benmussa Claire Lopez Shannon Finnegan Frédérique Lopez Ysé Tran Claude Bonnet Stockard Channing Jérôme Frazer

Director Director

Roman Polanski

Producers Producers

Roman Polanski Alain Sarde Timothy Burrill

Writers Writers

Gérard Brach Roman Polanski John Brownjohn

Original Writer Original Writer

Pascal Bruckner

Casting Casting

Mary Selway Bonnie Timmermann Françoise Menidrey

Editor Editor

Hervé de Luze

Cinematography Cinematography

Tonino Delli Colli

Executive Producer Exec. Producer

Robert Benmussa

Lighting Lighting

Jean-Claude Le Bras

Camera Operators Camera Operators

Nicola Pecorini Jean Harnois

Production Design Production Design

Gérard Viard Willy Holt

Art Direction Art Direction

Jean-Michel Ducourty

Stunts Stunts

Jean-Louis Airola

Choreography Choreography

Composer composer, sound sound.

Laurent Quaglio Roberto Garzelli Daniel Brisseau Jean-Pierre Lelong Mario Melchiorri

Costume Design Costume Design

Jackie Budin

Makeup Makeup

Didier Lavergne Sophie Harvey

Hairstyling Hairstyling

Loli Avellanas Alain Bernard

Fine Line Features R.P. Productions Les Films Alain Sarde Timothy Burrill Productions Columbia Pictures Canal+

France UK USA

Primary Language

Spoken languages.

French English

Releases by Date

12 jul 1992, 02 sep 1992, 23 sep 1992, 02 oct 1992, 15 oct 1992, 31 dec 1992, 05 jan 1993, 07 jan 1993, 08 jul 1993, 25 sep 1993, 11 mar 1994, 07 sep 1995, 16 aug 2004, 09 aug 2012, 11 sep 2005, releases by country.

• Theatrical 15+
• Theatrical 16
• Theatrical 18

Netherlands

• TV 16 RTL 5
• Physical 12 DVD

South Korea

• Premiere 18 London
• Physical 18 DVD
• Theatrical R

139 mins   More at IMDb TMDb Report this page

Popular reviews

Review by KYK ★★★★½ 2

I DON'T THINK I'LL EVER STOP SCREAMING ABOUT THIS MOVIE!!! peter coyote describing a golden shower as "my nile, my ganges, my jordan, my fountain of youth, my second baptism" is just... pure cinema.

35mm. Quad Cinema.

Review by Luke McCarthy 1

Peter Coyote licking milk off of Emmanuelle Seigner's breasts to the tune of George Michael's Faith = the only thing that matters.

Review by Nick Petrick ★★½

In the seemingly endless saga of films in which Hugh Grant plays a little bitch, this is by far the most unusual.

Review by Stelletlicht ★★★★½ 1

- What happened to your dance classes?  - Dancing has to come from the heart.  - So?  - My heart is broken.

Review by Will Sloan ★★★★★

From Roman Polanski comes a film about the sick pleasure of listening to a creep tell a problematic story. 100% Pure Cinema. God Coyote. The scene with Emmanuel Seigner and the milk is... (*turns into a Tex Avery wolf*)

Review by silkespojken ★★

my sis picked this for a film night with our parents

Review by SilentDawn ★★★★½ 2

It's fitting that Bitter Moon takes place on a ship in the wintertime. The promise of a getaway, and a mended marriage, is halted by the frosty chill of distant relationships and sexual boredom. The vast scenery of the sea makes for a ambiguous recurring image, especially when the only thing to do in these cramped, seasick cabins is to listen to Peter Coyote wax poetic about Emmanuelle Seigner and their nasty history. No matter the deviancy on display, director Roman Polanski makes a point to over play the dynamics between the alluring couple with wordy clarity, while Hugh Grant and Kristin Scott Thomas struggle to say anything at all. A horned-up escapade that never forgets to be sad and mean and self-aware at every turn, with the audience perpetually trapped as the ship sways along the water.

Review by Nick Newman

Roman Polanski is our greatest director because the two times he truly bared his soul were for a) plumbing the unfathomable horrors he witnessed during the Holocaust and b) a movie where Peter Coyote tells Hugh Grant that being pissed on by Polanski’s wife was “my Nile, my Ganges, my Jordan, my fountain of youth, my second baptism.”

Review by shookone ★★

filthy little scumbag, you!

it's impossible to watch Bitter Moon without the knowledge of Polanskis rascalities, and seeing it as an own little psychoanalytic journey into his mind of male fantasies, fetishes, desires and anxieties - very similar to Fellinis sprawling epics . women are only objects here - femme fatales, but the fatality they arouse is already implanted in the man's mind, as the inceptor of his drives.

this is fascinating to watch, although I don't see how anyone can take this serious as a "sexy thriller". Hugh Grant is close to a comic relief (a relieving presence actually), Emmanuelle Seigner is - frankly said - a joke of the image Polanski must have had in mind (and the fact…

Review by Tim ★★★★½ 1

This movie's anti-Titanic. The boat doesn't sink and all references to (true) love turn out to be deceiving illusions. I absolutely loved it.

Review by TOMZOMG ★★★½

Loving these Hugh Grant romcoms.

Review by Nate ★★★★½ 1

Me and my GF do this all the time

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BITTER MOON

What You Need To Know:

(NA, LL, NNN, SSS, M) Neo-paganism; 15 obscenities & 10 profanities; extensive male & female nudity; extremely graphic sexual situations, sadomasochism & lots of graphic descriptions of perverse sexual acts; and, voyeurism & fetishism.

More Detail:

BITTER MOON is an empty expose of a staid British couple’s encounter with a libertine American and his licentious wife. Set upon a cruise ship, this overly written, confused piece of voyeurism sails into the dirty waters of sexual perversion and its destructive consequences. Nigel and Fiona are on a cruise to Bombay. They meet Mimi and Oscar. Oscar, a failed writer, confined to a wheelchair, and Mimi, a wounded princess, peak Nigel’s interest. Oscar warns Nigel about flirting with his wife. Oscar then tells how he met Mimi, detailing their sexual intimacies. After Nigel hears the story, his desire for Mimi grows into unquenchable passion. Nigel tries to kiss Mimi, and she refuses. Then, Fiona dances seductively with Mimi. The two women leave for Mimi’s cabin. When Nigel rushes to Mimi’s room, he finds his wife in bed with the seductress. Next, Oscar shoots Mimi, then commits suicide. At the end, Nigel and Fiona hold each other, wrapped in utter confusion.

A more twisted view of love, sex and marital relationships would be hard to find. Aside from its base perversion, BITTER MOON suffers from overwritten, sometimes laughable, dialogue and a stiff mechanical performance by Peter Coyote. Its view of marriage and human relationships is morally bankrupt. One should neither waste one’s money, time nor moral sensibility on this empty work

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Bitter Moon (1994) Stream and Watch Online

Watch 'Bitter Moon' Online

Want to behold the glory that is ' Bitter Moon ' on your TV or mobile device at home? Tracking down a streaming service to buy, rent, download, or watch the Roman Polanski-directed movie via subscription can be challenging, so we here at Moviefone want to take the pressure off. We've listed a number of streaming and cable services - including rental, purchase, and subscription choices - along with the availability of 'Bitter Moon' on each platform when they are available. Now, before we get into the various whats and wheres of how you can watch 'Bitter Moon' right now, here are some particulars about the Fine Line Features, R.P. Productions, Les Films Alain Sarde, Timothy Burrill Productions, Columbia Pictures, Canal+ drama flick. Released March 11th, 1994, 'Bitter Moon' stars Peter Coyote , Emmanuelle Seigner , Hugh Grant , Kristin Scott Thomas The R movie has a runtime of about 2 hr 19 min, and received a user score of 71 (out of 100) on TMDb, which compiled reviews from 703 experienced users. What, so now you want to know what the movie's about? Here's the plot: "A passenger on a cruise ship develops an irresistible infatuation with an eccentric paraplegic's wife." 'Bitter Moon' is currently available to rent, purchase, or stream via subscription on Apple iTunes, Google Play Movies, Vudu, and YouTube .

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50 facts about the movie bitter moon.

Written by Emyle Kiger

Modified & Updated: 05 Mar 2024

Reviewed by Jessica Corbett

Are you a fan of provocative and intense cinema? If so, then you’ve probably come across the thought-provoking masterpiece that is “Bitter Moon.” Directed by the legendary filmmaker Roman Polanski, this 1992 erotic thriller has stood the test of time and continues to captivate audiences with its bold storyline and unforgettable performances.

In this article, we will delve deep into the world of “Bitter Moon” and uncover 50 fascinating facts about this cinematic gem. From behind-the-scenes anecdotes to trivia about the cast and crew, get ready to immerse yourself in the dark and twisted world of this psychological drama.

So, grab your popcorn, settle into your favorite armchair, and prepare to embark on a journey through the intriguing world of “Bitter Moon.”

Key Takeaways:

• “Bitter Moon” is a psychological thriller film released in 1992, exploring themes of love, obsession, and desire aboard a cruise ship, with explicit scenes and a non-linear narrative.
• The movie challenges traditional notions of love, features a captivating performance by Hugh Grant, and leaves a lasting impression with its intense exploration of human relationships.

Bitter Moon was released in 1992

Bitter Moon is a film that was released in the year It was directed by Roman Polanski and stars Hugh Grant, Emmanuelle Seigner, Peter Coyote, and Kristin Scott Thomas.

The movie is categorized as a psychological thriller

Bitter Moon falls under the genre of psychological thriller, which makes it an intense and suspenseful watch.

It explores themes of love, obsession, and desire

The movie delves into complex themes of love, obsession, and desire, painting a vivid and provocative picture of human relationships.

Bitter Moon was inspired by a novel

Roman Polanski based the film on the novel “Lunes de Fiel” by Pascal Bruckner, taking creative liberty to adapt it for the screen.

The film received mixed reviews from critics

Upon its release, Bitter Moon garnered mixed reviews from film critics. Some praised its performances and dark storytelling, while others felt it was too unsettling.

It takes place on a cruise ship

The majority of the film is set aboard a cruise ship, adding a claustrophobic and isolated atmosphere to the narrative.

Bitter Moon is known for its erotic scenes

The movie features explicit and erotic scenes, further highlighting the intense emotions and desires of the characters.

Hugh Grant plays the role of Nigel

Hugh Grant takes on the role of Nigel, a British writer who becomes captivated by a mysterious woman named Mimi.

Emmanuelle Seigner portrays Mimi

Emmanuelle Seigner delivers a captivating performance as Mimi, a seductive and complex character who becomes the object of obsession for Nigel.

Nigel’s wife Fiona is played by Kristin Scott Thomas

Kristin Scott Thomas portrays Fiona, Nigel’s wife, adding another layer of complexity to the tangled relationships in the film.

The movie explores themes of power dynamics

Bitter Moon delves into the intricate dynamics of power within relationships, showcasing the manipulation and control that can emerge.

It features a non-linear narrative

The film incorporates a non-linear narrative structure, jumping back and forth in time to reveal different aspects of the characters’ lives.

Bitter Moon was nominated for several awards

The film received nominations for various awards, including Best Supporting Actress for Emmanuelle Seigner at the César Awards in France.

The movie’s soundtrack enhances the atmosphere

Bitter Moon’s soundtrack, composed by Vangelis, adds to the dark and suspenseful atmosphere of the film, intensifying the viewing experience.

It explores the darker side of relationships

Bitter Moon delves deep into the complexities and darker aspects of human relationships, showcasing the lengths people will go to fulfill their desires.

The movie challenges traditional notions of love

Bitter Moon presents a twisted and unconventional take on love, challenging societal norms and exploring the depths of human emotions.

Roman Polanski makes a cameo appearance

The renowned director himself, Roman Polanski, makes a cameo appearance in the film, adding a personal touch to the storytelling.

It was not a commercial success

Despite its critical acclaim, Bitter Moon did not perform well at the box office and did not gain widespread popularity.

The film’s screenplay was written by Roman Polanski and Gerard Brach

Roman Polanski collaborated with Gerard Brach to write the screenplay for Bitter Moon, ensuring a cohesive and compelling story.

It received an NC-17 rating in the United States

Due to its explicit content, Bitter Moon received an NC-17 rating in the United States, limiting its distribution and audience reach.

The performances in the movie are highly praised

The performances of the cast members, particularly Hugh Grant, Emmanuelle Seigner, and Kristin Scott Thomas, have been highly praised by critics.

Bitter Moon is a tale of twisted love

The film takes audiences on a journey of twisted love, exploring the boundaries of passion, obsession, and betrayal.

It showcases Roman Polanski’s signature style

Bitter Moon is a testament to Roman Polanski’s unique and distinctive filmmaking style, characterized by his exploration of human psychology and dark storytelling.

The movie raises thought-provoking questions

Bitter Moon raises thought-provoking questions about the nature of love, the power dynamics within relationships, and the consequences of unchecked desire.

It is a visually striking film

Bitter Moon boasts visually striking cinematography, making use of shadows, close-ups, and atmospheric lighting to heighten the tension and mood.

The film’s dialogue is sharp and witty

The dialogue in Bitter Moon is known for its sharpness and wit, adding layers of humor and depth to the characters’ interactions.

Bitter Moon was not widely advertised

Due to its niche appeal and explicit content, the film was not widely advertised, relying more on word-of-mouth and targeted marketing strategies.

It showcases the destructive nature of obsession

Bitter Moon delves into the destructive consequences of obsession, highlighting its ability to consume and manipulate individuals.

The movie has moments of dark comedy

Amidst its intense and dramatic moments, Bitter Moon incorporates moments of dark comedy, providing moments of relief amidst the tension.

It explores the boundaries of sexual desire

Bitter Moon pushes the boundaries of sexual desire, delving into unconventional and taboo aspects of human sexuality.

The film’s characters are morally ambiguous

The characters in Bitter Moon are morally complex and ambiguous, blurring the lines between right and wrong, good and evil.

Bitter Moon is a deeply unsettling film

The film’s exploration of twisted relationships and the dark depths of human desire can leave viewers feeling deeply unsettled.

The movie’s narrative twists and turns

Bitter Moon keeps audiences on the edge of their seats with its unpredictable narrative, filled with twists and turns that keep viewers guessing.

It is a tale of love gone wrong

Bitter Moon is a cautionary tale of love gone wrong, highlighting the destructive consequences of unfulfilled desires and unhealthy attachments.

The movie’s ending is open to interpretation

Bitter Moon concludes with an open-ended ending, leaving viewers to interpret the ultimate fate of the characters and the consequences of their actions.

It explores the blurred lines of consent

Bitter Moon delves into the blurred lines of consent within relationships, questioning the power dynamics and manipulation that can occur.

The film showcases Roman Polanski’s talent for creating tension

Bitter Moon is a prime example of Roman Polanski’s talent for creating tension, using silence, suspense, and psychological twists to captivate audiences.

It was filmed in France and the United Kingdom

Bitter Moon was primarily filmed in France and the United Kingdom, capturing the essence of both locations and enhancing the authenticity of the story.

The movie’s runtime is approximately 139 minutes

Bitter Moon has a runtime of approximately 139 minutes, allowing for a detailed exploration of its complex characters and their relationships.

The film’s title is symbolic

The title “Bitter Moon” serves as a metaphor for the dark and bitter aspects of love and desire that are explored within the film.

It features a captivating performance by Peter Coyote

Peter Coyote delivers a captivating performance as Oscar, a character whose presence adds another layer of intrigue to the film.

Bitter Moon’s screenplay explores the human psyche

The screenplay delves deep into the intricacies of the human psyche, examining the motivations and desires that drive the characters’ actions.

The film’s production design is meticulous

Bitter Moon’s production design is meticulously crafted, creating visually stunning sets that enhance the overall atmosphere and mood of the film.

It challenges societal expectations of relationships

Bitter Moon challenges societal expectations of relationships, highlighting the complexity and fluidity of human connections.

The movie’s cinematography enhances the story

The cinematography in Bitter Moon is masterfully executed, using visual techniques to amplify the emotions and themes explored in the film.

It has a cult following

Over the years, Bitter Moon has gained a dedicated cult following, with fans appreciating its bold storytelling and unflinching exploration of human relationships.

The film is a study of human desires and their consequences

Bitter Moon serves as a study of human desires and the profound consequences they can have on individuals and their relationships.

It showcases the vulnerability of the human condition

Bitter Moon lays bare the vulnerability of the human condition, shedding light on the fragile nature of the human psyche when faced with overwhelming desire and obsession.

The movie’s editing adds to its intensity

Bitter Moon’s editing techniques play a crucial role in intensifying the film’s overall impact, seamlessly blending different timelines and heightening the sense of unease.

Bitter Moon leaves a lasting impression

With its provocative storyline and powerful performances, Bitter Moon is a film that leaves a lasting impression on those who watch it, provoking thought and discussion long after the credits roll.

In conclusion, Bitter Moon is a fascinating movie that delves deep into the complexities of love, desire, and obsession. With its gripping storytelling, superb performances, and thought-provoking themes, it has earned its place in cinematic history. The film’s exploration of power dynamics, sexuality, and the darker sides of human nature is both bold and captivating.Roman Polanski’s direction and the screenplay by Gerard Brach showcase their mastery of storytelling, creating a film that is both emotionally intense and psychologically unsettling. The performances by Emmanuelle Seigner, Hugh Grant, and Peter Coyote are absolutely compelling, bringing their characters to life in a way that is raw and unforgettable.Bitter Moon is a movie that will stay with you long after the credits roll. It challenges our perceptions of love and morality, leaving us questioning our own desires and the lengths we would go to fulfill them. Whether you’re a fan of psychological dramas or simply appreciate extraordinary filmmaking, Bitter Moon is a must-watch.

1. What is the plot of Bitter Moon?

Bitter Moon tells the story of a couple, Nigel and Fiona, who meet an enigmatic and embittered man named Oscar on a cruise. As the movie unfolds, we are taken on a journey through love, lust, betrayal, and obsession.

2. Who directed Bitter Moon?

Bitter Moon was directed by renowned filmmaker Roman Polanski. Known for his distinctive style and ability to create tension, Polanski delivers a masterful piece of cinema with this film.

3. Who are the main actors in Bitter Moon?

The main actors in Bitter Moon include Emmanuelle Seigner, Hugh Grant, Peter Coyote, and Kristin Scott Thomas. Their performances are deeply impactful and bring the characters to life with incredible authenticity.

4. What themes does Bitter Moon explore?

Bitter Moon explores themes of love, obsession, power dynamics, and the limits of desire. The film challenges conventional notions of relationships and exposes the darker and more complex aspects of human nature.

5. Is Bitter Moon based on a book?

Yes, Bitter Moon is based on the novel “Lunes de fiel” by Pascal Bruckner. The film adaptation brings the story to life in a visually stunning and emotionally gripping way.

6. Can Bitter Moon be considered a psychological thriller?

Yes, Bitter Moon can be classified as a psychological thriller. It delves into the depths of human psychology, exploring the twisted desires and obsessions of its characters.

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SIMILAR ITEMS (based on metadata)

‘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.
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‘Rebel Moon — Part Two: The Scargiver’ Review: Of Stars and Wars

A delirious, pulpy mishmash of knockoffs, Zack Snyder’s film isn’t good, but it sure is something.

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By Amy Nicholson

A Zack Snyder picture is like everything and nothing else in the galaxy. “Rebel Moon — Part Two: The Scargiver,” the second half of the director’s hammering saga about a bucolic village at the fringes of the universe forced to fight off its imperial overlords, pulls from as many influences as there are stars in the sky. “Star Wars,” of course (yes, there are light sabers), and also “Mad Max,” Caravaggio, John Ford, European art-house cinema, World War II propaganda flicks, steampunk Victoriana, cottagecore girlies on Instagram and Wagner’s “Götterdämmerung.” Not only does the score boast two types of choirs (haunted child and Gregorian), but a single frame might include a robot dressed like the Green Knight (and voiced by Anthony Hopkins) next to a Conan the Barbarian clone next to some guy in overalls who looks like he just flew in from Bonnaroo. A delirious, pulpy mishmash of knockoffs, “The Scargiver” isn’t good, but it sure is something.

The first “Rebel Moon,” released on Netflix in December, made audiences endure a gantlet of narrative groundwork that’s fairly inessential and recapped here. In it, a farm boy named Gunnar (Michiel Huisman) and a secretive assassin named Kora (Sofia Boutella) assemble an interstellar team of protectors (played by Djimon Hounsou, Staz Nair, Elise Duffy, Doona Bae and others). Now, the story picks up five days before the squad must defeat a vicious army led by an admiral (Ed Skrein) with a bad haircut and worse attitude.

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 (the best of which Hounsou delivers). 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. And he makes it hurt.

The film has plenty of death, yet little life. Boutella, the lead, is listless until she can get to stabbing, and in the multiple scenes where she and the other warriors gather around a dinner table to discuss their plan of attack, the actors appear to have been ordered to ignore the food. Anything that might look cool in slow motion is filmed in slow motion: tears, explosions, wheat threshing, flour grinding. In one shot, a victim plummets from the sky in slow motion all the way down to the splat.

Snyder’s ostentatiousness is unmatched. His refusal to dial down any of his impulses — dramatic smooches backlit by a pink-ringed planet, priestly hats that resemble glowing pepperonis, a four-legged tank which totters like a hung-over armadillo — has an admirable resolve, even if it comes from an inability to say no to himself. As the body count ticks into the triple digits and the bone-rattling battle expands from the land to the air, I found myself thinking of that moral debate in Kevin Smith’s “Clerks” about the never-seen workers who died building the Death Star for Darth Vader. At least Snyder shows their faces. Then he mows them down.

Rebel Moon — Part Two: The Scargiver Rated PG-13 for brief strong language, sequences of strong violence and suicide. Running time: 2 hours 2 minutes. Watch on Netflix .

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Rebel Moon: Part 2 Is Lowest-Rated Zack Snyder Movie on Rotten Tomatoes

By Vansh Mehra

The Rotten Tomatoes score for Zack Snyder’s Rebel Moon: Part 2 – The Scargiver is in, and it has received an even colder first reception from critics than the first movie.

A majority of critics didn’t enjoy Rebel Moon: Part One: A Child of Fire, as shown by its 21% Rotten score from an aggregate of 173 reviews in December 2023. It also had a low 57% Audience Score. However, Rebel Moon: Part 2 has debuted with Zack Snyder’s lowest Rotten Tomatoes score to date.

Rebel Moon: Part 2 reviews give it ‘Rotten’ rating

At the time of writing, the film stands at a 13% Rotten score on Rotten Tomatoes . This score is subject to change for better or worse with over a hundred reviews yet to come in. But considering that most of its initial reviews are negative, the official score will likely remain “Rotten” as more reviews come in.

While Snyder continues to have a strong fanbase, he hasn’t found the same success with reviews from critics over the years. Besides Dawn of the Dead (2004), none of his films have received a “Fresh” Rotten Tomatoes score.

Furthermore, his Rebel Moon movies have received his two lowest Rotten Tomatoes scores.

The following list shows the critics’ scores on Rotten Tomatoes of all Zack Snyder movies:

• Dawn of the Dead – 76% Fresh
• Zack Snyder’s Justice League – 72%
• Army Of The Dead – 67%
• Watchmen – 65%
• Man of Steel – 56% Rotten
• Legend of the Guardians: The Owls of Ga’Hoole – 52% Rotten
• Justice League (2017) – 40% Rotten
• Batman v Superman: Dawn of Justice – 29% Rotten
• Sucker Punch – 22% Rotten
• Rebel Moon: Part One: A Child of Fire – 21% Rotten
• Rebel Moon: Part Two: The Scargiver – 9% Rotten

Zack Snyder is still expected to release extended R-rated cuts of both Rebel Moon movies in the future and return to direct a sequel to Army of the Dead .

Vansh is an SEO Contributing Writer for ComingSoon. His passion for cinema and the superhero genre is what turned him into a movie/series analyst. In his spare time, Vansh can be found screaming at his screen while watching cricket matches or binging all sorts of streaming content to brush up on his entertainment knowledge.

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‘Rebel Moon — Part Two: The Scargiver’ Review: The Second Half of Zack Snyder’s Sci-Fi Debacle Is Almost as Disastrous as the First

David ehrlich.

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“Rebel Moon — Part Two: The Scargiver” has been dead since last December, when the irredeemable first chapter of Zack Snyder’s hyper-derivative space opera was released “in theaters” and on Netflix to deafening silence. As I concluded my review at the time: “It’s hard to be even morbidly curious, let alone excited, about any future iterations or installments of a franchise so determined to remix a million things you’ve seen before into one thing you’ll wish you’d never seen at all.” 

If “The Scargiver” is shorter, more straightforward, and generally less of a headache than “Part One: A Child of Fire,” its failures are twice as baffling. This was supposed to be the easy part. 

The “ Rebel Moon ” project was conceived as a “Star Wars” spinoff, and I don’t envy the challenge that Snyder faced to create a cinematic universe of his own, especially because the “Dawn of the Dead” and “300” filmmaker has always been a cover artist disguised as a visionary auteur. 

“A Child of Fire” ended with Kora, Gunnar, and the motley crew of interstellar soldiers they’d managed to assemble returning to Veldt in order to prepare for the fight to come. The stage was set for a feature-length battle sequence that would allow Snyder to focus on his strengths, such as they are, and deliver his fans an undiluted mega-dose of fetishistically speed-ramped sci-fi combat without too much plot, character detail, world-building, or any other kind of pesky narrative bullshit getting in the way. 

And don’t get me wrong: If you want to watch space Nazis fire red laser beams at vaguely Scandinavian farm people during an interminable siege that’s staged with exactly none of the panache and enthusiasm that made even the worst of Snyder’s pre-streaming work feel distinct, you’ve come to the right place. This is the “Citizen Kane” of whatever that is. But first, you’ll have to sit through — or scrub past — a full hour of watching Djimon Hounsou, Bae Doona, and the rest of the film’s ensemble cast harvest wheat in slow-motion as the singers on Tom Holkenborg’s appropriately self-serious choral score wail over the soundtrack. 

Surprising as it might be that this truncated, PG-13 version of Snyder’s eventual director’s cut still finds the time for long stretches of agriculture porn, I suppose that’s a byproduct of his inexplicable decision to squeeze every supporting character’s entire backstory into a single, dramatically moribund sequence in which they sit around a table and regale each other with identical stories about how the Imperium killed everyone they loved. It might be the only part of the movie in which Staz Nair’s Tarzan-sculpted Tarak says more than five words in a row, or that Elise Duffy’s Milius — who Wikipedia assures me was in the first one — is invited to grow into something more than a ChatGPT-promoted Furiosa clone… an invitation she rejects with extreme prejudice.

Even at the end of a combined running time that now stretches more than four hours long, the warriors in “Rebel Moon” continue to feel generated at random, which proves be the most fatal issue of many in a film that stakes its emotional core on the hope that Kora and her friends will become more than mere weapons. 

Perhaps it’s telling that the film’s most expressive action beat is reserved for a robot, but even that display — an homage of sorts to Yoda’s unexpected ambush at the end of “Attack of the Clones” — is too gagged by its own desperate bad-assery to deliver even a fraction of the fist-pumping fun that George Lucas was able to generate in 2002. George Lucas! In 2002!

At least Kora has a slightly better chance to shine than the rest of their counterparts; not on the battlefield, where she’s subject to the same bland series of sword fights and dirt explosions as everybody else, but at least in the backstory that led her there. The character’s tragic foundation is rooted in one of the single goofiest things I’ve ever seen on a movie screen (a string quartet with bags over their faces performs during a coup attempt, their live accompaniment growing more intense as the slaughter begins a few feet away), and it ends with Kora experiencing a change of heart so abrupt that she should probably see a cardiologist. Still, somewhere in between she’s forced to make a powerful decision that puts her at odds with her own violent potential. 

Maybe Kora’s emotions will be more fleshed out in the director’s cut, or in any of the subsequent “Rebel Moon” movies that Snyder has recently threatened to make (in what a cynic might see as a deliberate attempt to distract people from the mind-numbing anticlimax of this one). In some respects “The Scargiver” feels even less salvageable than “A Child of Fire,” as no amount of additional, R-rated violence could redeem the unstructured banality of Snyder’s beige-bland action, but it’s possible that his characters might find another dimension — or a single dimension — from some of the interstitial dialogue scenes that may have been lost along the way.

Regardless, this franchise certainly has room to grow, as Noble is never framed as anything more than the first boss in Kora’s quest to confront her adoptive father. If this catastrophic bore of a film isn’t game over for “Rebel Moon,” then nothing will be able to stand in her way.

“Rebel Moon — Part Two: The Scargiver” is now available to stream on Netflix.

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Rebel Moon - Part Two: The Scargiver: We've Got Good News and We've Got Bad News

The good news about Zack Snyder’s latest film , Rebel Moon - Part Two: The Scargiver is that, without a doubt, it’s better than its predecessor. It’s more focused, cohesive, and character-driven, telling a story that nearly makes Rebel Moon - Part One: A Child of Fire feel insignificant . Unfortunately, there’s also bad news. The bad news is those positives don’t outshine the negatives. It’s slower, unbalanced, and emotionally vapid. But, if you enjoyed the first film, you’ll like this one even more. If you didn’t enjoy the last film, you probably won’t like this one either, but it’s at least a more well-rounded affair.

Most of that is a result of the film’s structure. In A Child of Fire , the story follows Kora (Sofia Boutella), a mysterious warrior who travels the galaxy to recruit a band of warriors to defend her home planet of Veldt from the evil soldiers from Motherworld. As a result, the film had a lot going on. There was set-up, conflict, and a lot of new locations and characters—and then just when things were coming together, it ended.

In The Scargiver , almost all of the action takes place in a single location as Kora and the surviving characters from the first film make a home on Veldt and begin preparations for the coming war. With less plot to get through, Snyder is able to spend more time with the characters. Kora reveals all her secrets to Gunnar (Michiel Huisman) as they finally get together and make good on the previously teased romance. The townspeople have multiple training sessions with various weapons and characters, giving even minor players places to grow. And each of the remaining warriors, such as Titus (Djimon Hounsou), Nemesis (Doona Bae), and Millius (Elise Duffy), dive into their pasts while forming relationships with townsfolk in the present. The coming battle then gains actual stakes as everyone develops new friendships, loves, and more. We actually kind of care about who lives and dies. At least hypothetically.

A downside to this more character-focused, insular story is that it’s not Snyder’s forte. So, while he’s doing the right things in theory, it doesn’t always work practically. Scenes drag. Pacing gets awkward leading to disconnection. And, ultimately, the valiant attempts at eliciting emotion largely miss the mark. For example, scenes of farming are oddly told with dynamic slow motion usually reserved for action, totally taking you out of the moment. A crucial scene between our heroes gets overly repetitive and frustratingly bloated when every single character gets their own flashback, told one after the other. Each scene tells us something about the story, but the methods employed feel closer to a checklist of obligations than dramatic development, almost as if we’re just killing time waiting for that final battle. The Scargiver certainly does its best to connect the characters with the audience, but it never quite gets there.

Nevertheless, this is a Zack Snyder movie, so if it’s all building to a big battle, odds are that battle is going to deliver, which this one does. After two movies escalating toward this one showdown between the heroes of Veldt and the villains of Motherworld, Snyder not only gives us action galore, but plenty of twists and surprises along the way. The final act isn’t just a fun set piece with plenty of guns, vehicles, battles, and explosions, it unfolds like its own mini-movie. There are highs, there are lows, and then the climactic battle has its own climatic moment that blends elements from Star Wars and Tron . Which we know sounds odd, but it works.

As Rebel Moon - Part Two: The Scargiver ended, a few things quickly popped into my head. First, very little of the first movie seemed relevant here. Charlie Hunnam’s betrayal, the giant spiderlady, Anthony Hopkins’ robot character Jimmy, the resurrection of Ed Skrein’s Atticus Noble—a few of these things are part of this story, but none of them pay off in an important, impactful way justifying a whole other movie. In fact, it was almost as if you didn’t need to see, or even remember, the first movie to understand and enjoy this one.

I also realized that while Snyder is well known for making his movies longer— both parts of Rebel Moon have longer, R-rated versions coming later this year— Rebel Moon simply should have been shorter. Think about it. The biggest problems with Part One are that you don’t care about anyone, and that it’s overstuffed and disjointed. Part Two has opposite, yet complimentary, problems. It focuses more on the characters, but it drags out and gets stale. So, if both parts were trimmed and put together into one complete story, you might be left with something more complete and satisfying than its longer, split-down-the-middle self.

Alas, that’s not the Rebel Moon we got to see. We got Part One and now Part Two , a better film in almost every way, but still one that doesn’t work in the way it wants to. The final act is fun and there is some cool action and world-building throughout, but in the end, even an improvement doesn’t warrant Rebel Moon - Part Two a recommendation.

Rebel Moon - Part Two: The Scargiver is now on Netflix.

Want more io9 news? Check out when to expect the latest Marvel , Star Wars , and Star Trek releases, what’s next for the DC Universe on film and TV , and everything you need to know about the future of Doctor Who .

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