Much could be read of this frustration, of how we never know where we will end, of whether our efforts are worthwhile or will be doomed to failure—that we can hope for little more than failed communication.
We can but imagine the troubled power you wield. De-sexualized virgin, you would never find liberation.
Most of us understand the term “odyssey” to be a time of adventurous journey, patterned after the classical quest of the Odyssey, the epic by the Greek Homer. Such a definition is hardly revealing, however, and it potentially misses a level of significance for all of us.
We can read this deliberate ambiguity in a number of ways: the particular puzzled psychoses of repressed females, for instance, or the dysfunctional power relationships within families; the self-struggling identities of adolescent development or even the unreasonable demands of an outside world to extract simple clarity from complex humanity.
Like the characters themselves, viewers are left with a futility that either their hours were wasted or they must see the film as a “sunk cost” and thereby invest still more time in prequels and spin-offs.
While it’s true that Snyder has been granted a larger, freer role in producing Army of the Dead than he has been allowed in previous films, we can’t forget that this very freedom is being marketed to us; Snyder is still caught up in this $90 million budget.