Here’s why you should give the Rebel Moon director’s cut an actual chance

polygon.com:

Stop me if you’ve heard this one: It might be worth checking out the latest Zack Snyder director’s cut.

I can’t say this from experience with that latest #SnyderCut — the new cuts of Rebel Moon, which go live on Netflix Aug. 2. But I can say it from experience with Snyder, and from watching the original versions of Rebel Moon parts 1 and 2. Even with all the fandom to-do over Snyder’s various director’s cuts, every one of them so far has improved on the original cut of the movie in some drastic way. And what I can say confidently at this juncture is that Rebel Moon has been designed by Snyder for this exact moment.

Snyder loves big themes and big emotions. Look no further than the opening minutes of Man of Steel, where he renders a cold Krypton as grand and epic, complete with a pumped-up (and protracted) action sequence that proves Superman is not nearly as cool as his dad. And for Rebel Moon, Snyder wanted to top himself. He’s been cooking up Rebel Moon’s “sort of Dirty Dozen, Seven Samurai in space concept” for more than 30 years. He even tried to get Kathleen Kennedy and George Lucas on board to make it as a Star Wars movie, set somewhere just before A New Hope — and those origins show through. Rebel Moon is the dream he would never let die, even when he was just directing commercials and dreaming of helming a space saga.

So it’s no surprise that he wanted to make this thing his way — and luckily, Netflix obliged him.

“You really get to see a lot. It’s just more painted-in all the way. The director’s [cut] is a settle-in deep dive, which I have notoriously done throughout my career,” Snyder told Netflix’s Tudum. “I don’t know how I got into this director’s cut thing, but what I will say about it is that, for me, the director’s cuts have always been something I had to fight for in the past and nobody wanted it. It was this bastard child that I was always trying to put together because they felt like there was a deeper version. And with Netflix, we shot scenes