It feels strange to start off an article where I’ll be complaining about a show with effusive praise, but it is important to acknowledge that Star Trek: Prodigy is an absolutely fantastic show. The series at this point could be in contention for the best non-comedic Star Trek show since Star Trek: Discovery relaunched the franchise on Paramount+. It takes everything that’s great about Trek and dilutes it down wonderfully while still developing a cadre of fantastic, diverse, and engaging characters into a crew. Of all the current running shows, it quite possibly “gets” Star Trek the most.

However, criticizing something that’s great does not mean it isn’t great; it just means we can see how it can be better. And Star Trek: Prodigy‘s second second season has a worrying flaw that was handled so much better in its first season: nostalgia.

Star Trek: Prodigy’s Nostalgia Is Nothing New

Using nostalgia to help draw in an audience is nothing new to Star Trek: Prodigy or Star Trek itself. The franchise has been using it in one way or another since The Next Generation brought Scotty back for a very special episode. One of Deep Space Nine‘s best and most beloved episodes was a time-traveling crossover with The Original Series‘s “The Trouble with Tribbles.” This is even more true for the current run of Paramount+ shows, which are all heavily connected in one way or another to the past TV series, whether that be directly with Picard basically being three seasons of fan service (for better or worse) or indirectly with the plethora of references and cameos in Lower Decks. The point is that nostalgia, crossover, and cameo are tools regularly used in Trek, and a lot of the time it’s to great affect.

Prodigy is no different. In fact, its first season was one of the best uses of nostalgia the franchise has ever had. In that season, the show pulled Captain Janeway in to the series to help establish and teach new viewers just what Star Trek was all about. By inserting a holographic Janeway into the series, the show not only connected with the past for fans but also grounded itself squarely in the universe without requiring a PhD in Star Trek lore to understand what was going on. Hologram Janeway, acting as the guiding teacher for not just the young crew of the Prodigy but for the audience as well, could be any Captain for newcomers but was also a wonderful return for fans of the series. Nostalgia here was used perfectly, without the mess of continuity or the requirement of previous knowledge.

The series could then focus on Prodigy’s crew of ragtag escapees as they crossed the universe, not only learning about Star Fleet, friendship, and the bigger universe but also evolving themselves. Of course, by the end of the first season, the show started to pull in the actual Captain Janeway and hints of the second season’s bigger issue with nostalgia began to crop up.

Nostalgia as a Barrier to Entry in Star Trek: Prodigy

With Star Trek: Prodigy‘s second season, the creators dive hard into nostalgia in a way that’s far different from its first. In this season, the crew of the Prodigy is interacting directly with Star Fleet as they are pulled into a time travel plotline that involves not just the actual Admiral Janeway but also Captain Chacotay, The Doctor, Wesley Crusher, Beverly Crusher, and Voyager itself. That is a lot of lore to know for a series meant to be an introduction to Star Trek. This is especially true for Wesley, who has a convoluted and complex history involving becoming what is basically a time god. These cameos are all clearly far more played toward already-established fans of the show.

And, to be fair, it’s played really, really well, outside of The Doctor being mostly useless. Again, I’m pointing out an issue for sure, but for fans of Star Trek, this is an incredible season of television that gives us even more fantastic Janeway, explored a new side of Chakotay, and finally gave Wesley’s story arc at least a little closure. His exit from TNG left so many questions open thanks to that series’ episodic nature that even his cameo in Picard wasn’t truly enough to put a cap on his tale. Prodigy finally gave him and Beverly some closure, but at the cost of this season turning into far more of a fan love letter than a season of Prodigy.

The biggest cost of this, outside of the possible alienation of newcomers, is to the new Prodigy characters. Dal, Gwyndala, Murf, Rok-Tahk, Jankom Pog, Zero, and newcomer Maj’el lost some of the attention of the series as it dove into nostalgic storylines. This feels like even more of a shame because these are some of the best-developed characters in all of Trek, with actual evolution and growth throughout these two fantastic seasons of television. Season 2 of the series offers some truly great arcs, including Zero’s growth into a corporeal being and Dal and Gwyn’s growing relationship, but that just highlights the issue even more. It feels like we could have gotten more of it all if the show wasn’t so tied into a storyline focused on expanding the universe and emphasizing the past.

The fault here is not one in show construction or plotting, but a worrisome trend by Star Trek to veer into its past instead of constructing for its future. The crew of the Prodigy didn’t need a full season devoted to unpacking past storylines and characters because it had already delivered a season that gave us wonderful new characters. It’s a hard point to argue because Season 2 is truly fantastic, but it hints at an unfortunate overall issue with Trek‘s reliance on the past that Prodigy was so good at avoiding in its first season.

The Future of Star Trek: Prodigy Is Ditching the Past

All is not lost, however, especially given fans praise of the show. The minds behind some of Star Trek seem to understand that nostalgia will only get you so far. While Picard‘s final season was basically just an updated episode of The Next Generation, Discovery learned quickly that being pulled into the continuity of the past wasn’t going to work and launched the entire crew into the future so they could chart their own course. Did it work? Not all the time, but it definitely made the show better.

Prodigy seems to understand this as well, if the conclusion of the second season is any indication. While we don’t know if we’ll actually get a third season as, Netflix has yet to greenlight one, the show concludes with the Prodigy’s crew getting a revamped version of the ship and being sent off to explore the universe while Star Fleet struggles with the fallout of the synthetic attack on Mars. Of course, that attack is yet again a bit of continuity from Picard but the message is that the characters, along with hologram Janeway, will be on their own journey.

This is the correct direction, even if the excuse to have a crew of kids on a starship is ludicrous, and if the show gets a third season and does indeed go into a series focused solely on this crew, much like Trek before the Paramount+ shows, the future of Star Trek: Prodigy, if there is one, looks bright.

Star Trek: Prodigy is available to watch now.

The response comes from a line that dropped in the first trailer released for the upcoming film in which Reynolds, as Deadpool/Wade Wilson, insists that the only line Feige said the film couldn’t cross was drug use, specifically cocaine. That, however, was evidently just a punchline. In a Variety piece about the new film – which features Reynolds, Hugh Jackman, and director Shawn Levy – Feige was asked about restrictions Disney or he may have put on the film, and the head honcho of all Marvel films said there were none.

“We were open to anything,” Feige explained. “Maybe I’m slightly prudish when it comes to drug use, but I was like, ‘Eh, it’s not that funny.'”

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“There’s a line in the red-band trailer — you don’t have to write this in the article, for crying out loud! — about pegging,” Feige went on, providing an example of how new R-ratings and Deadpool are to the MCU. “I know what pegging is — it’s in the first Deadpool movie. But there were people I work with who didn’t know what it was. I had to explain it to them.” 

Obviously, there hasn’t been anything like Deadpool in the MCU. Yes, She-Hulk broke the fourth wall in a major way, but that was all pretty tame humor. Deadpool & Wolverine is a whole different beast, and it’s clear that the film is pulling no punches. Heck, even the interview that these comments are from features teabagging, cursing, and enough potty humor to warrant a parental advisory.

Deadpool & Wolverine will be in theaters on July 26.

What exactly is Hundreds of Beavers though? A quick search will tell you it is a black-and-white, slapstick comedy about a fur trapper who must trap the titular hundreds of beavers in order to win the hand of the girl he loves. That, however, is only the film’s very loose plot, which is mostly just an excuse for an ever-escalating series of slapstick comedy set-ups featuring animation, people in animal costumes, pratfalls, and the kind of comedic violence found in Looney Tunes cartoons. It is, in short, a hilarious comedy the likes of which haven’t been seen on screen since the age of silent film.

That is, in fact, part of the point. The movie is without speech, though not entirely silent thanks to human and animal noises and an incredibly keyed-in score, and is clearly trying to be a silent film. Think a Charlie Chaplin or Buster Keaton film meets Looney Tunes meets Monty Python all spinning off into an almost surreal David Lynch-esque conclusion as it spirals out of control into an action-packed finale. I know that sentence had so many descriptive contradictions in it you can’t quite conceptualize how this film could even function, and I’m not sure how either, to be honest, but it does, and it only gets funnier as it goes along.

Almost none of the humor in the movie is anything new in terms of slapstick comedy. Our intrepid hunter, played by Ryland Brickson Cole Tews, falls into hidden holes, triggers his own hunting traps, and gets hit in the balls (the ultimate form of comedy), but it all works wonderfully. I’m chagrined I had to watch the movie on my own as seeing it in a theater probably would have had me laughing even harder. Part of the reason for that is Tews’ performance as he contorts his face into a cartoon itself — half the humor comes from his own reaction shots, cued up like a silent film actor overplaying every moment perfectly. There is something akin to Cary Grant’s classic mugging in Arsenic and Old Lace to his performance, a comedic style of performance long gone in cinema that’s still hilarious.

However, what ties the film together — what ties any comedy together — is timing, and Hundreds of Beavers‘ comedic timing is nearly flawless. Director Mike Cheslik stitches together what is basically a collection of slapstick sketches into a spiraling, cohesive whole that builds comedy wonderfully. Not just hilarious for some prolific gag timing but constructed so the comedy builds on top of itself, the movie hardly loses a step despite being non-stop slapstick comedy and visual gags. Thanks to the movie getting more and more cartoonish, like a Looney Tunes cartoon taken to eleven, Cheslik is able to increase the comedic visual punchlines to ever more humorous levels.

If there is one complaint about the movie, it may be that the premise can wear a bit thin every now and again, but there is nothing like Hundreds of Beavers in cinemas right now, and there hasn’t been something like it in a very long time. Hell, there probably won’t be something like it in theaters for the foreseeable future either. So now is your chance to see a truly hilarious bit of cinematic uniqueness. Go do it.

Hundreds of Beavers is in limited theaters in the U.S. and will land in the UK on July 9. It is also available to stream On Demand.

The trailer opens with a series of flashbacks, revealing that this is indeed a sequel to the first film, though, interestingly, those flashbacks don’t have much of Russell Crowe’s Maximus character. The new film takes place long after the original, with a grown-up Lucius (Paul Mescal) fighting in the arena. Much like his father, Lucius is living a peaceful farm life when General Marcus Acacius (Pedro Pascal) invades his home under the command of some really evil emperors. It looks like the nuance of Joaquin Phoenix’s Commodus is going right out the window with these guys, and instead, the complex villain role will be handed off to Pascal’s character.

It also looks like there were plenty of prolific battles in the Colosseum, including a sea battle. That may seem ridiculous, but the Romans could actually flood the Coloseum and have ship battles on it. Things are definitely getting cranked up to the extreme this time around, judging from not just that battle but the one with the rhino as well. All of this plays out as Macinus (Denzel Washington) uses Lucius to ignite his own revolution, though his reasons seem less virtuous than Proximo’s in the original film.

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The highly anticipated film also stars Connie Nielsen, Joseph Quinn, Fred Hechinger, Rory McCann, Lee Charles, Lior Raz, and Derek Jacobi. It is directed by Scott from a screenplay by David Scarpa based on a story by Scarpa and Peter Craig.

Gladiator II will hit theaters on November 22, 2024.

Back when Disney+’s MCU television shows were still fresh and exciting, WandaVision kicked everything off with a show that gave us one of the MCU’s best villains, Agatha Harkness. Played perfectly by Kathryn Hahn, the character became quite the hit, and Marvel Studios jumped on board to do something more with Hahn, announcing Agatha All Along a few years ago (though it was called something different). It’s taken a while, but we now have our first look at the series, which will see Agatha team up with some other witches to get her powers back after Wanda defeated her and trapped her.

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Pivoting Agatha into an anti-hero shouldn’t be too hard as Hahn has enough charm to make anything work, but it definitely looks like this story will play into both the dark side of Agatha’s character and Hahn’s comedic ability. That seems to be in full force as she’s knocked out of the pocket reality that Wanda trapped her in by Rio Vidal (Aubrey Plaza), which is probably an easier feat given the conclusion of Doctor Strange in the Multiverse of Madness. Once free, she goes on a quest to retrieve her powers, partnering with a collection of characters played by Joe Locke, Patti LuPone, Sasheer Zamata, Ali Ahn, Debra Jo Rupp, and Miles Gutierrez-Riley. Emma Caulfield Ford is also returning from WandaVision.

Agatha All Along will drop its first two episodes on September 18 and air weekly after that.

It was revealed earlier this year that the fifth season of Lower Decks would be its final season, a fact that absolutely no one was happy with but that the show’s creator and showrunner, Mike McMahan, says is something he prepared for. While McMahan has said he had years’ worth of ideas for the series, which is both a fantastic Star Trek show and a wonderful parody of them, Paramount+ decided to cancel the show, and McMahan knew this was a possibility. He told The ‘Verse Podcast (via Trek Movie) that he knew the fifth season could be the last, thanks to Paramount’s rocky situation and a general contraction of the streaming market, and he planned accordingly.

That is, of course, good news. The even better news, however, is that McMahan hints that this might not be the end of animated, comedic Star Trek. The showrunner strongly hinted that spinoffs are a possibility for Lower Decks and that he’s setting them up in this fifth season of the Star Trek show.

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“The ending of Season 5 it is the ending of a chapter that I knew I wanted to do,” he said. “There are things that happen in it… I’m being very careful… that are sort of setting up spinoffs and setting up backdoor pilots. There’s characters I’m introducing that you’ll see clearly I wanted to do more with.”

McMahan went on to discuss the possibility of Lower Decks returning in some other form, like movies or comics, but that seemed like wishful thinking rather than concrete plans. There’s also the possibility that Lower Decks gets sold off like Star Trek: Prodigy did to a streamer like Netflix. McMahan says he has no control over that, of course, but it is possible, and that means everyone watching Prodigy on Netflix is even more important for even the most remote possibility of getting more Lower Decks.

“I don’t want to get into any of that,” he said when discussing a possible jump to another streamer. “Listen, I don’t wear a tie, and that’s tie questions. What I would say is, these characters are like my heart and soul. I put all of myself into this show, I really really love it. And I’m always down to make more if the cards align.”

The sixth and final season of Cobra Kai will be split into two parts as Netflix drags out the final adventure of Johnny Lawrence (William Zabka) and Daniel LaRusso (Ralph Macchio) a little bit longer. With the two competing dojos joined together and Cobra Kai finally forced out of the Valley, the new season will focus on the joined dojo taking on the entire world. But that appears to mean taking on Cobra Kai founder and all-around bad dude John Kreese (Martin Kove) once again. Plus, there is still high drama between the students of the dojo, setting us up for what is sure to be an eventful final season.

Even more of a setup is the tease at the end of the trailer, which promises that a secret of Mr. Miyagi’s will be revealed and that it might not be a good one. Could this finally be the lead-in for Hillary Swank returning to reprise her role from The Next Karate Kid? The actress has said she’d be happy to return, and no one has ever ruled it out. She’s really the only major actor from the original franchise’s timeline to not return, and it just feels like it has to happen.

Outside of the possibility of Swank returning, the sixth season of the show will actually star Xolo Maridueña, Jacob Bertrand, Mary Mouser, Tanner Buchanan, Peyton List, Gianni DeCenzo, Courtney Henggeler, Vanessa Rubio, Dallas Dupree Young, Yuji Okumoto, Alicia Hannah-Kim, Griffin Santopietro, and Oona O’Brien.

If you haven’t watched Cobra Kai, do so now. It may look ridiculous, but it is brilliant. And you’ll then be ready for the elongated release of the sixth season, with the first half dropping on Netflix on July 18, the second half dropping on November 28, and then a special finale dropping sometime in 2025. And just in case you’re worried about not having enough Karate Kid content after that, don’t forget that Macchio and Jackie Chan have teamed up for a new Karate Kid movie.

Hugh Jackman’s portrayal of the clawed mutant became an instant hit with X-Men, and 20th Century Fox (now just 20th Century under Disney’s rule) ran with it, pulling him into every X-Men movie it could. The result is a stacked list of nine films that you could call Wolverine movies, and that’s not including the upcoming Deadpool & Wolverine.

But how to rank them all from worst to best? Are we going solely on the quality of the film, or should we also base judgment on the quality of the Wolverine role in the movie? It feels like a mix of both is the right choice, judging each film on both how good they are as movies and how good they are as Wolverine vehicles. As such, this list of all the Wolverine films ranked might not shake out quite as you thought.

Every Wolverine Movie, Ranked

9. X-Men: The Last Stand

If you’re at all familiar with the nine films on this list, then it might come as a surprise that X-Men: The Last Stand is the worst movie on it. For most, the knee-jerk reaction would be to call X-Men Origins: Wolverine the worst movie. However, The Last Stand is both a horrible film and a horrible performance from Hugh Jackman. The actor, seemingly knowing the film’s plot is more interested in cramming as many mutants as possible into the movie than being good, entirely checks out for this performance. Even the climactic conclusion of his killing of Jean Grey falls horribly flat as it takes place in a haphazard action sequence that feels like the film ran out of money. From the death of Cyclops to the Juggernaut actually yelling, “I’m the Juggernaut, b*tch!” the film is just a series of bad decisions. Also, worst Wolverine hair by a mile.

8. X-Men Origins: Wolverine

The Last Stand being the last film on this list does not let X-Men Origins: Wolverine off the hook in any way. Origins is an awful film full of bad decisions, terrible special effects, and, of course, an entirely gagged Deadpool. Wolverine’s infamously bad claws are just the crappy icing on the turd cake. It is a superhero film made by people who clearly didn’t understand the assignment, but at least Jackman seems interested in being in it, and while not executed well in the least, Liev Schrieber chews the scenery as Sabertooth. More than a decade after its release, it’s easier to watch Origins as a so-bad-its-good film, though it never actually reaches that point and is, in fact, just bad.

7. X-Men: Apocolypse

The first film on this list that we’ll file under “Not Actually a Wolverine Movie,” X-Men: Apocolypse features an entirely unneeded Wolverine cameo (or Weapon X, to be more precise). Sure, his brutal and murderous action sequence provides one of the few interesting parts of the movie, but Jackman’s involvement in the film is clearly a desperate bid to shove the most popular X-Men into the movie to move tickets. Outside of Wolverine, the film itself is a mess, almost as nonsensical as Last Stand. The final showdown between Apocolypse and the X-Men is like CGI vomit of swirling powers and space lasers. The few enjoyable parts are basically just lackluster redoes of scenes from the far better X-Men: Days of Future Past.

6. X-Men: First Class

X-Men: First Class is one of the best X-Men movies, but it is not a Wolverine movie. The only reason it’s on this list is thanks to an incredibly brief cameo where Wolverine drops an f-bomb while talking to Professor X and Magneto. It’s a fantastic moment in a great film and is a perfect Wolverine line, so it gets to sit far above the three films below it, but ranking it any higher in a list of Wolverine movies is disingenuous.

5. X-Men

Considering much of the train wrecks that came after it, X-Men is a shockingly tight and well-structured film. It also features Jackman in a fantastic turn as Wolverine, even if he seems less jacked compared to his other performances. Already the favored character, the movie still finds ways to treat the rest of the X-Men with respect (well, maybe not Storm) while letting Wolverine shine. While some of the clunkiness that would crop up in later movies is present here, it’s still a superhero film that stands on its own and a Wolverine movie that works.

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4. X2: X-Men United

On paper, X2 should not work better than X-Men. It crams a host of new mutants into the storyline while going bigger with almost everything. In fact, if this was a list of X-Men movie rankings, it might be below its predecessor, but X-2 is a really good Wolverine movie. Taking a ton of time to delve into the character’s past and his unrequited love for Jean Grey, the film gives Jackman a lot to chew on. Its pacing works well, and it never feels overcrowded despite actually being so. Plus, you get to see Wolverine throw down with Lady Deathstrike in a fight sequence that works far better than it should in a PG-13 movie.

3. The Wolverine

The Wolverine is James Mangold’s practice run at Wolverine perfection. The first appearance of Huge Jackedman (the ridiculously ripped version of Hugh Jackman), the film is a wonderfully poignant and paced homage to samurai films and Japanese cinema – until its third act. Resplendently shot, the movie takes a deep dive into the fumbled ending of Last Stand, piecing back together a broken and struggling Wolverine and maybe even slightly redeeming that film simply because it led to this one. Sadly, the movie’s conclusion ends in the samurai-armor equivalent of the giant sky laser cliche, turning what should have been an emotional conclusion into a tepid action sequence.

2. X-Men: Days of Future Past

20th Century Fox was in quite the pickle after First Class was released. It somehow managed to bring the X-Men back to life after the turgid back-to-back releases of Last Stand and Origins, but they didn’t have Wolverine in it. Thus, they adapted the iconic comic run “Days of Future Past” but sent Wolverine back in time to engage with the new actors portraying the X-Men. Simultounesly new and full of nostalgia and freshness, the film delivers a great X-Men movie and a powerhouse turn for Jackman as Wolverine.

1. Logan

There are superhero movies, and then there is Logan. Almost in a class of its own in the genre itself, Logan is not just a great Wolverine movie, not just a great superhero movie, but a great piece of cinema. Bloody and violent thanks to the franchise’s first R-rating, the movie could have just been a bunch of prolific action set pieces, but instead, director James Mangold used that R-rating to make an actual adult film, influenced by Westerns and focussed on themes such as aging, regret, guilt, parenthood, and salvation. It is the rare superhero movie that chooses character over action and delivers, at the time, a touching swan song to Jackman’s Wolverine. A swan song so well done that if it was for any other film than Deadpool & Wolverine, his return as the character would feel cheap.

And that’s every Wolverine movie, ranked worst to best.

Deadpool & Wolverine hits theaters on July 26.

Of course, The Batman wasn’t really Batman like we’d seen him before, but The Penguin seems to be veering even further away from the traditional comic book style. Instead, the series is a mob thriller, focusing on Colin Farrell’s take on The Penguin as he rises up in an attempt to take over the Falcone crime family after the events caused by The Riddler in The Batman. Standing in his way is not just most of the crime syndicate but also Carmine Falcone’s two children, Al (Michael Zegen) and Sofia (Cristin Milioti), who both want to rule as well. All of this takes place in a collapsing Gotham City, and so far, there’s no sign of Batman.

That all seems to be by design, as the series will look to make a name for itself without the Dark Knight butting in. Farrell’s Penguin, for which the actor looks unrecognizable, isn’t the wobbling, umbrella-wielding criminal from the comics or even the disturbing Tim Burton version. Instead, while he may somewhat resemble his nickname, he’s far more Oswald than Penguin and far more threatening than ever before. That’s about all we can ask for.

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Reeves is carving himself out his own little corner in James Gunn’s DC film and television plans. There is a second Batman film with Robert Pattinson coming that will continue the story from the conclusion of this series. However, Reeves’ shows and films are not part of Gunn’s cinematic universe, being under the DC Elseworlds label, meaning they can play out however they like.

The Penguin will land on Max this September.

While Brandy Norwood, who does not age, being in the film doesn’t scream instantly to anyone that the movie is art house or high quality, the actor/singer did perform admirably as a scream queen in I Still Know What You Did Last Summer. However, she’s not playing a screaming teen running from a man with a fishhook this time around but instead a wife and mother who invites her mother-in-law (Kathryn Hunter) to live with them despite her husband’s concerns. Things go south pretty quickly, as it turns out her mother-in-law is not just a terrible person but also literally demonic.

The tone of The Front Room, judging from the trailer, is a mix between A24’s “elevated horror” style and some sort of campy horror film, and I’m totally here for that.

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The movie is the directorial debut of Max and Sam Eggers, whose last name you probably recognize thanks to their brother, Robert Eggers. The latter is the man who basically kicked off A24’s dominance of this corner of the horror genre with The Witch and continued to rule it with films like The Lighthouse and The Northman. His brothers have collaborated with him for a while, and Sam even wrote The Lighthouse, but whether or not they’ve got their brother’s knack for horror from the director’s chair is yet to be seen.

The Front Room also stars Neal Huff and Andrew Burnap and is adapted from a short story of the same name by Susan Hill. It will be released on September 6.

For those who have not seen the first two Paddington films, this trailer may just look like another kid’s movie you can skip over. After all, this movie takes a talking bear on an adventure through the Amazon with his friendly family and a host of wacky characters. It couldn’t possibly look more cliche. But that was what the trailers for the first two films looked like, too, and what we got out of them were two of the most heartfelt, wonderfully directed, soul-comforting films ever made. While the third does look a bit more action-driven and moves us out of the cozy London home where Paddington lives, it also adds Olivia Colman, and that makes any movie better.

Returning for the movie are Hugh Bonneville and Emily Mortimer, and they’re joined now by Colman and Antonio Banderas. Ben Whishaw is back as the now iconic voice of Paddington, while Imelda Staunton returns as his Aunt Lucy, who appears to have gone missing in Peru.

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Bot returning is director Paul King, who directed the first two films along with writing them and should receive much of the credit in elevating them into the wonderful movies they are. While King did return to co-write Paddington in Peru, it is Dougal Wilson who has been tapped to guide the marmalade-loving bear in this third outing. Hopefully, he can capture the same magic that King did.

Paddington in Peru will be released in theaters on November 8, 2024, in the UK and on January 17, 2025, in the US.

Rebel Moon – Part One: A Child of Fire will now be called Rebel Moon — Chapter One: Chalice of Blood and Rebel Moon – Part Two: The Scargiver is now titled Rebel Moon — Chapter Two: Curse of Forgiveness. At least Snyder’s name was struck from the beginning this time around. Zack Snyder’s Rebel Moon — Chapter One: Chalice of Blood is a bit of a mouthful. No matter the title change, though, the new cuts will both drop on August 2.

The director’s cuts will not just be longer but also “viciously sexier” and “bloodier.” Snyder has spoken about the fact that he wanted versions of the movies that everyone could watch and versions with a hard R-rating for adults, and that’s why Netflix agreed to release all four versions despite the fact that the director wasn’t under any pressure to cut things from the films’ original release. However, with Snyder pre-planning to release more violent director’s cuts, the end result was PG-13 original releases with fight sequences that seem oddly edited and entire scenes seemingly truncated.

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The other question raised is if anyone wants to sit through both these films again, especially if they’re even longer. While the first film definitely saw a lot of interest on Netflix – most likely from name brand alone – Part Two slumped hard in viewership, with fewer people tuning in over the first week and a striking drop off after that. The message seemed to be that people weren’t that interested, and if they weren’t that interested in the originals, it’s hard to believe they would tune in for more.

Rebel Moon — Chapter One: Chalice of Blood and Rebel Moon – Chapter Two: Curse of Forgiveness will drop on Aug. 2 on Netflix.