Movie review
January 25, 2019 · 93 min · R · Sci-Fi · Fantasy · Comedy · Action
Obi Washington is a mechanic who keeps a failing Moon base alive after a nuclear war has made Earth nearly unlivable. When an old Nazi leader offers a cure for her sick mother, Obi leads a small crew into the Hollow Earth to find the power source called Vrilia. The crew faces reptile rulers, famous tyrants, dinosaurs, and a dangerous return trip to the Moon. The movie uses loud jokes, wild effects, conspiracy ideas, and fantasy adventure instead of a serious tone.
The movie presents Obi as a black woman who stands at the center of the story as its main mechanic, decision-maker, and savior. The film repeatedly makes Obi the most capable member of the crew, while the men serve as comic helpers, muscle, or romantic support. The film presents her as an action hero who fixes machines, makes plans, and saves people without treating her as a sex object. Malcolm reveals that he is gay near the end, but the moment is brief and played as a surprise joke. These identity elements matter to the characters, but the main adventure still focuses on dinosaurs, Nazis, religion jokes, and conspiracy ideas.
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Breakdown
These are the editorial factors and ratings behind our score for Iron Sky: The Coming Race.
Woke representation / casting
Obi Washington is a black woman who is the lead mechanic and main hero. Her role is central, and the film gives her the key rescue and survival tasks. The sequel links her to James Washington from the earlier film, which gives the character a clear family reason. Lara Rossi also frames Obi as the woman-of-color hero she wanted to see, which adds a clear representation message.
40%
Woke political dialogue
The opening song says “Let’s make Earth great again,” which points at Donald Trump’s slogan. The Vril leaders also talk about politics, elections, religion, and world leaders while blaming them for ruining Earth. A character says one-god religion starts old wars, and Jobsism turns Steve Jobs into a god. The jokes are brief and scattered, so political dialogue is noticeable but not central.
32%
Identity-driven story themes
Obi is repeatedly shown as the person who keeps the Moon base alive, leads the mission, fixes the ship, and saves the survivors. The male crew mainly supplies comic relief, muscle, or romance while she makes the key choices. The film also gives Malcolm a late gay reveal, but the moment is brief and played for surprise. These choices make gender and identity part of the story, while the main plot still centers on dinosaurs, Nazis, and conspiracy jokes.
55%
Western institutional / cultural critique
The director says the film is built as a comedy about religion, human origins, and future religions. The story turns Steve Jobs into the god of a strict moon cult and shows people punished for breaking phone rules. It also jokes about Adam and Eve, the Holy Grail, the Last Supper, the Pope, and one-god religion. This repeated mockery of religion and tech power gives the film a clear cultural critique, though the broad comedy targets many groups.
44%
Woke character or canon changes
Not relevant. The sequel introduces Obi and the new Vril and Jobsist characters. It does not change the race, gender, or sexuality of an established character from the earlier film or a known source.
0%
Anti-woke backlash and complaints
Small online reactions did call the film “super woke trash” and accused the writers of taking shots at religion, conservatives, Republicans, big tech, and Trump. Another audience review called Obi a Mary Sue and said the film could not be made in Hollywood at the time. The X search found only a few small posts about a DEI lead and a Mary Sue. No large account, boycott, review bomb, or organized campaign was found.
32%
Creator track record context
Most writers and producers have genre, business, or independent-film backgrounds without a clear DEI or identity-politics record. Timo Vuorensola is mainly linked to political satire, pacifism, and fan-made science fiction. Johanna Sinisalo has a stronger history of writing about sexuality, gender, outsiders, and the environment, while Dalan Musson has little public biography. This gives some context, but it does not show a strong activist pattern around this film.
18%
Production
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