'Dark Phoenix' Review

Synopsis: During a life-threatening space rescue mission, Jean Grey is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with an increasingly unstable power as well as her personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.

Runtime: 113 minutes

MPAA Rating: PG-13 (for intense sequences of sci-fi violence and action, including some gunplay, disturbing images, and brief strong language)

Who should see it? Marvel fans who are eager to see the end of Fox's X-Men Saga.

Written and directed by longtime X-Men writer/producer Simon Kinberg as his feature directorial debut, Dark Phoenix is the twelfth and, presumably, final entry in 20th Century Fox's X-Men universe. In nineteen years, there have been six prior X-features, three spin-offs starring Wolverine, and two Deadpool side-adventures. Though the studio delivered a series of superhero installments with inconsistent quality and jumbled continuity, there were genuine gems among the bunch, and Bryan Singer's X-Men was at the forefront of the comic-book movie craze alongside Sam Raimi's Spider-Man in the early 2000s. Those films were largely responsible for driving interest in the cinematic superhero offerings seen today, so it's bitter-sweet to see the franchise come to an end on account of Disney's recent Fox acquisition.

One notable implication regarding the Disney/Fox merger is that Marvel Studios will finally have creative control over the Fantastic Four, X-Men, and other related comic entities. Free to integrate these popular comic characters into their cinematic universe, I imagine we'll see rebooted incarnations from Marvel and Disney soon enough. Of course, there are plenty of troubling concerns and silver linings pertaining to the merger, but that's a discussion for another day. Between numerous release delays and extensive reshoots, Dark Phoenix experienced a troubled production and many wondered if Dark Phoenix and The New Mutants would ever see the light of day under Disney's dominion. While the jury's still out on The New Mutants, Dark Phoenix finally flew into cinemas this weekend but is looking to crash and burn with the lowest respective Rotten Tomatoes score and opening weekend box office gross of the entire franchise.

Honestly, Dark Phoenix is far from the worst X-Men film though. X-Men Origins: Wolverine, X-Men: The Last Stand, and X-Men: Apocalypse are each more deserving of that distinction in my mind. Dark Phoenix contains plenty of interesting ideas which are unfortunately fumbled in execution and will be overlooked due to some cheesy moments and awful dialogue. However, the bad is balanced out by moderately engaging action, a gifted ensemble, and another astounding score from Hans Zimmer. I genuinely appreciated the opening fifteen-twenty minutes, but the film teeters out and loses steam in the second act's sea of angsty melodrama. Above all, the biggest issue facing Dark Phoenix is that we barely know this younger iteration of the X-Men, and Kinberg's narrative depends on audience investment.

Jean Grey, Cyclops, Nightcrawler, and Storm were all briefly introduced and scarcely developed as supporting presences in X-Men: Apocalypse. Apocalypse was overcrowded with characters, so barely anyone did anything remotely consequential in that movie or much less experienced character growth, but there needed to be at least one other film between Apocalypse and Dark Phoenix to flesh them out as individuals. Instead, the development occurs off-screen. As a result, I didn't really care about the team's melodrama because they'd barely been defined as characters.

As for the cast, most everyone gets a moment to shine in-spite of thin characterization. Sophie Turner never reaches her full potential as Jean Grey but does the best with what she's given and lends weight to the dramatic, under-written heel turn of her character. Turner sells Jean's conflicted and complex emotional state, as well as her menacing qualities when faced against her fellow mutants. On the other hand, Jessica Chastain portrays Vuk as an uninspired alien antagonist void of all personality. The character's meant to be detached, and her motivation's clearly laid out, but Vuk fails to resonate as a person of interest because it may as well be played by a cardboard cut-out of Chastain.

The First Class crew of James McAvoy, Michael Fassbender, Nicholas Hoult, and Jennifer Lawrence reprise their roles for the fourth time, finally ready to bow out as Professor X, Magneto, Beast and Mystique. Fassbender and McAvoy continue to be series MVPs, lending further nuance to the ongoing debate between Charles Xavier and Erik Lehnsherr, while Hoult's Hank McCoy grapples with an emotional dilemma and Lawrence arrives to set caked in cheaper-looking blue make-up to collect her paycheck and fulfill the remainder of her contract. Carrying over from Apocalypse, Tye Sheridan's Cyclops, Alexandra Shipp's Storm, Kodi Smit-McPhee's Nightcrawler, and Evan Peters' Quicksilver are unfortunately relegated to meager supporting roles with the occasional impressive display of their abilities. Their narrative contributions are inconsequential, and it's a shame that these characters were side-lined once more.

Viewers are ultimately left with a watchable superhero flick, but those are now a dime a dozen. The Fox X-Men franchise finally burnt out, but I'm looking forward to seeing what rises from the ashes in the capable hands of Kevin Feige and Marvel Studios. Hopefully, Marvel can reignite audience interest in these classic comic characters.

Film Assessment: C

'The Favourite' Review

With only three days left in the year, I'm behind on writing reviews by a substantial margin. There are ten films that I've seen and not yet reviewed, and quite a few I'd like to catch up on at the last minute via streaming or a recently acquired Blu-ray. Therefore, it's impossible for me to review EVERYTHING I've seen in 2018 before 2019 unless I write non-stop and flood social media with review after review. So I've chosen to prioritize reviewing a select few films which are The Favourite, If Beale Street Could Talk, and Vice. I'll do my best to share one review daily till December 31st.

'The Favourite' Review

Nominated For: Best Picture, Best Director; Yorgos Lanthimos, Best Actress; Olivia Colman, Best Supporting Actress; Emma Stone, Best Supporting Actress; Rachel Weisz, Best Original Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, and Best Production Design.
Won: Best Actress; Olivia Colman.

In the early 18th century, England is at war with the French. Nevertheless, duck racing and pineapple eating are thriving. A frail Queen Anne occupies the throne, and her close friend Lady Sarah governs her country in her stead while tending to Anne's ill health and mercurial temper. When a new servant, Abigail, arrives, her charm endears her to Sarah. Sarah takes Abigail under her wing, and Abigail sees a chance to return to her aristocratic roots.

The Favourite is the latest, and likely most accessible, film from Greek writer/director Yorgos Lanthimos. For those unfamiliar with Lanthimos' work, I'd advise watching at least one of his previous films so you may be somewhat accustomed to his unconventional filmmaking approach. The only Lanthimos production I'd previously seen was The Killing of a Sacred Deer, but I am quite keen to watch The Lobster soon. At this point, I'd say it goes without saying that Lanthimos' films are eccentric and bizarre, which is precisely what I love about them. Lanthimos didn't write The Favourite, but Deborah Davis and Tony McNamara certainly considered his off-kilter tendencies when fabricating the razor-sharp story and witty dialogue. Though the setting, characters, and general plot are inspired by actual 18th century England, the historical accuracy is most certainly up for debate as story elements were likely embellished for the sake of Lanthimos' vision and artistic liberties were most certainly taken with the lesser known events.

With immaculate costume design, lavish production design, and a series of concertos and sonatas from the likes of renowned Baroque period composers such as Vivaldi and Bach, The Favourite may resemble a traditional 18th century English period piece at first glance, but I can assure you that Lanthimos has whipped up something far more twisted and dastardly than one would expect. The devious plotting and elaborate machinations at the story's center are an utterly fascinating through-line which build and build to an enthralling power-struggle between two unrelenting advisors.

Lady Sarah and Abigail's rivalry is perhaps most intriguing on account of the heightened tension brewing just beneath the surface. As the women seek to out-scheme one another, their ultimate motivations remain a mystery. It's not till the film's phenomenal finale that the audience truly understands each character's endgame. Until then, you will question their loyalties and just how genuine their behavior is. Are their actions selfless or ultimately for selfish gain? The slow, scandalous unspooling of their inner thoughts amidst the conflict only further drew me in. This ever-changing dynamic is further enhanced by the efforts of Academy Award-winning actresses Emma Stone and Rachel Weisz. They each exhibit a multifaceted performance which ranks among their very best work to date, and the two actresses dig deep into the unhinged, vindictive psyche of their respective characters while showcasing emotional vulnerability as well. 

Rounding out the trio of powerhouse performances, Olivia Colman's Queen Anne is equally nuanced. Colman often quickly fluctuates between instances of childish pouting, unrestrained anger, and gleeful giddiness, but the mood swings don't feel cartoonish or exaggerated as they would have in the hands of a lesser actress. Needless to say, all three women are outstanding here and well-deserving of the awards recognition sure to come their way. 

As for other supporting cast members, Nicholas Hoult and Joe Alwyn are impressionable and well worth mentioning for their roles as the big-wig Tory politician Harley and the nobleman Masham respectively. 

In summation, you'll be hard-pressed to find another 2018 release which is as wickedly witty as The Favourite. Yorgos Lanthimos' sadistic, dark humor remains unchallenged, and Lanthimos has gained favor in my eyes as one of the most abstract filmmakers working today. I'm further drawn into following his filmmaking career from now on. Fittingly, The Favourite has become not only one of my favorite films in the awards race but one of my favorites of the year as well! 

Film Assessment: A+

'X-Men: Apocalypse' Review

Wednesday evening I attended an early screening of X-Men: Apocalypse and I'm just now publishing my review for a few reasons: first off, it will likely get the most attention today, secondly yesterday I was focused on a barrage of reviews for Alice in Wonderland, X-Men: First Class, and X-Men Days of Future Past - The Rogue Cut, and last but not least I had more time to reflect on the film to give a fairer review. Anyways, I've been looking forward to this film ever since watching the post credits scene of X-Men: Days of Future Past and so I've had about two years for my anticipation to build. Naturally this would mean my expectations were pretty high. Keep that in mind as you're reading my review because if you have tempered expectations this movie will probably be awesome in your eyes. 

'X-Men: Apocalypse' Review

When the early screening of X-Men: Apocalypse I attended Wednesday night ended, I found myself a bit underwhelmed. Therefore, I think it was for the best that I waited to review this film and let my opinion of it settle in. By no means is X-Men: Apocalypse a "bad movie", rather along the lines of underwhelming. X-Men: Apocalypse just wasn't able to measure up to it's predecessors in the young X-Men Trilogy (I'm not sure if there's an actual name for these or not but I'm referring to X-Men: First Class and X-Men Days of Future Past). 

Bryan Singer returns to helm his sequel to Days of Future Past, the first time he's directed two consecutive X-Men flicks since X-Men and X2, and X-Men: Apocalypse picks up a decade after Days of Future Past allowing Singer to tackle the 80's, something reflected in the believable hair, costume, and production design. 

There's actually a brief Star Wars reference where the characters discuss trilogies and Singer effectively takes a jab at X-Men: The Last Stand. Too bad the joke held true for this installment in comparison to First Class and Days of Future Past. It's a hilarious moment that Star Wars fans will definitely appreciate that takes full advantage of the 80's setting. 

Singer sizes down the scale of the film as there's no time travel elements to be found, but the stakes have never been higher for the X-Men as global destruction is certainly possible thanks to Apocalypse. The screenplay penned by Simon Kinberg finds itself muddled as there are just too many characters and storylines to properly service. The film tasked itself with not only continuing the saga of a younger Professor X, Magneto, Mystique, Quicksilver, and Beast, but also introducing a new baddie in Apocalypse, his subservient horseman, and younger versions of Cyclops, Jean Grey, and Nightcrawler. I can confidently say that Kinberg pulls most of it off. 

I say "most" as I found the creative team did a wonderful job depicting Cyclops, Jean Grey, and Nightcrawler and even continuing the ongoing arc from all the way back to First Class, but failed to give many of the characters the time and attention they deserved. For example, two of Apocalypse's horseman had no more than five lines of dialogue, with Storm having scarcely more than that to say. 

The Horsemen were basically around to give the X-Men someone to fight other than just Apocalypse and as fan service, not to say I didn't find the horseman cool just that some were underused. The makeup, costuming, and visual effects have never been better in the X-Men films as is to be expected with today's marvelous technology and modern filmmaking. However, there were a few spots here and there were some of the CGI looked a little fake. 

The film doesn't disappoint with it's action though, as there's one sequence featuring Magneto that's just heart wrenching, two showstopper sequences from Quicksilver that actually managed to top his incredible sequence in Days of Future Past, the action packed third act finale, and of course a cameo appearance from a fan favorite mutant in a gruesome sequence that will probably make any comic book fan a little giddy. If you've seen the final trailer you probably know who I'm referring to. 

So you're probably wondering if there's more to the movie than just spectacle to which I'll say there's a terrific cast amassed, whoever cast the new young mutants deserves a pat on the back. James McAvoy's back as a more seasoned Charles Xavier that I feel can finally adopt the monicker Professor X. 

Michael Fassbender gets a fresh arc for Magneto where he gets to really show off his dramatic acting chops and emotional gravitas that ties up his character arc in a satisfying manner (I wouldn't be surprised if he comes back in a future X-Men film though). 

Jennifer Lawrence's performance is quite bland as Mystique. It's difficult to tell if she really wants to be a part of this franchise anymore given her voiced complaints about Mystique's makeup and the franchise in general but it seems like she mailed this performance in due to contractual obligations. She's only in the Mystique guise when she's forced to be and just serves as an inspiration to the other mutants. Lawrence isn't terrible but her performance is certainly lacking compared to her previous turns as Mystique. 

Nicholas Hoult sadly is given very little to do as Hank McCoy, but if you want to get the most out of his performance I'd recommend watching both X-Men: First Class and X-Men: Days of Future Past - The Rogue Cut. He gets some awesome fight scenes as Beast in the third act and I can't praise the makeup work for his look as Beast enough. 

Evan Peters' Quicksilver is given significantly more to do as a result of the positive response to his turn in Days of Future Past. Quicksilver has a more emotional arc once he learns of his parentage, but that doesn't stop the speedster from having fun along the way. 

Newcomers, Sophie Turner, Tye Sheridan, and Kodi Smit-McPhee are all delightful as Jean Grey, Cyclops, and Nightcrawler. I particularly took a shine to Smit-McPhee's Nightcrawler and he's definitely my favorite character in this franchise after seeing him steal just about every scene he's apart of. 

The film also brings back Rose Byrne's Moira Mactaggert and Alex Till's Havok from First Class who I don't feel were vital to the film's story but had some great moments nonetheless. 

Oscar Isaac gets to go full baddie as Apocalypse, and I've got to say he was terrifying so I was satisfied with his portrayal. One little nitpick regarding Apocalypse was that his motive wasn't convincing and Apocalypse was evil for the sake of being evil and wanting power, etc. 

Under Apocalypse's control we find the four horseman, Magneto, Storm, Archangel, and Psylocke. Alexandra Shipp is serviceable as Storm but I don't think she's the definitive version like Turner's Jean Grey, Sheridan's Cyclops, and McPhee's Nightcrawler. Storm was cool in the action sequences she partook in but she didn't get enough development in my opinion. It's not like Berry's Storm was that developed either though. Ben Hardy's Angel/Archangel and Olivia Munn's Psylocke have virtually nothing to do as they're purely around for spectacle in the third act finale. 

When it comes down to it, there's enjoyment to be had and the film is fairly good. but just didn't meet my expectations. I can say that it excites me to think of the possibility of a 90's followup featuring the same cast but it's a shame that X-Men: Apocalypse just ultimately serves to setup that potential sequel rather than stand on it's own. Longtime fans of the X-Men movies should have a good time as it's shameless entertainment, but just be aware that the film ultimately feels like hollow spectacle and is missing the heart and care given to First Class and Days of Future Past.

Film Assessment: C+

Alternate Cut Review: 'X-Men Days of Future Past - The Rogue Cut'

Today, I'm introducing a new type of review called an Alternate Cut Review. The name is simple and pretty self-explanatory but the premise behind it is that I will review the director's cut of a film (Not always called the director's cut but that's basically what these are). The format for the reviews will be similar to my triple-R reviews where I include a link to my initial review, which will likely be the theatrical cut, and then write a review of the alternate cut of the film and even compare them to a degree. I figured this would be appropriate time to start with X-Men: Apocalypse releasing this weekend. I was originally going to do a Triple-R review over X-Men: Days of Future Past but decided that this would be more interesting. For one, it gave me a chance to finally sit down and watch The Rogue Cut, something I'd been meaning to do and it also is a new review format I hope to continue. Also my Triple-R reviews are intended for me to re-review films that I don't feel I did justice to in my older reviews as it's clear that my reviews have gotten much more analytical and more involved in comparison to when I began the blog. I've decided not to completely re-review these movies entirely by just scrapping the old review. I feel that leaving them on my blog shows the progress I've made and I don't want to delete my work since I'm still proud of them regardless. My next planned Alternate Cut Review will likely be Batman v Superman: Dawn of Justice's Ultimate Edition when it's released on Blu-Ray. This will be a great opportunity to revisit it sooner as my opinion of it has slightly diminished and I feel that the score I gave it was a tad too high based on the preemptive excitement after seeing it for the first time. 

'X-Men Days of Future Past - The Rogue Cut' Review

Nominated for: Best Visual Effects.

Theatrical Cut Review- X-Men: Days of Future Past Review

"The Rogue Cut" Review- X-Men: Days of Future Past marks Bryan Singer's return to the franchise, his last installment being X2 and effectively wiping out what can widely be regarded as everyone's least favorite X-Men films, X-Men: The Last Stand and X-Men Origins: Wolverine, from the X-Men timeline. 

Singer brought it upon himself to not only adapt a beloved comic arc but also unite the cast from his X-Men Trilogy (He didn't make the third but you know what I mean) and X-Men: First Class through the means of time travel. Time travel, when ill-used, can be confusing but Simon Kinberg's screenplay clears up all confusion thanks to limiting the time travel capabilities and some proper explanation through clever expository dialogue. The time travel also provides some meaningful opportunities for some really awesome paralleled editing between the future and past timelines that is amplified a bit in The Rogue Cut, a very welcome change. 

The Rogue Cut doesn't change the story so much as add to it in some meaningful ways. The most significant change is the addition of Rogue in the future portion of the film, an addition I prefer as it provides more plot in the future timeline rather than just waiting around for Logan to change the timeline and the Sentinels to arrive. This allows for a rescue that provides a more meaningful death to a certain character than his end in the theatrical cut and a chance for McKellen's Magneto to shine some more with an awesome sequence cutting between him and Fassbender's Magneto in the past that's appropriately intense and carries plenty of dramatic gravitas. 

There's also a subplot picked up from X-Men: First Class focusing on the relationship between Mystique and Beast that remained untouched and practically ignored in the theatrical cut that really amplifies Mystique's character arc, providing further explanation to her actions. Other than that, the changes from the theatrical release seem fairly minuscule with a few scenes roped in and slight differentiations in dialogue and some cases where and when the said dialogue is delivered. To be fair, I haven't watched the theatrical version in about two years, but still feel confident I was able to derive where The Rogue Cut diverged. 

As for the film itself, Singer's direction is subtle yet brilliant. Singer manages to effectively craft multiple environments for multiple points in time and stay true to all of them based on what's presented. Singer takes the screenplay and runs through events smoothly with engaging action visual effects spectacle, some nicely choreographed fight scenes, and integral character drama. The franchise's visual aesthetic is seemingly at it's peak with this installment where the costuming, visual effects, production design, and cinematography are top notch. In particular, I felt the collaboration of makeup, costuming, and visual effects make all the mutants look remarkable, especially Mystique and Beast. 

In regards to action, the film delivers with a number of entertaining action sequences including the fights against the Sentinels in the bleak dystopian future, any fight scene with Mystique where she utilizes tactile efficiency disposing of her enemies, and the third act finale where Magneto lifts an entire ball park stadium and drops it on the White House Lawn controlling the 70's sentinels amidst the chaos, talk about spectacle! The standout sequence that will be revered for many years to come though is without a doubt the Quicksilver sequence. 

Watching him speed about mischievously to "Time in a Bottle" with all the surrounding action in slow motion was just glorious! 

What elevates X-Men: Days of Future Past above most superhero fare (Not all, just a majority) is it's deluxe treatment for it's main characters and the excellent performances amassed by combining two casts into one full length epic crossover of sorts. 

Hugh Jackman rightfully earns top billing for his turn as Wolverine, at this point it's nearly impossible to imagine anyone else in the role. Jackman gets to be a bit more levelheaded than seen previously as he has to be the voice of reason to convince the 70's mutants that their future is in peril. 

James McAvoy gets a more interesting arc as a disillusioned Charles Xavier this time around. Micheal Fassbender is much more villainous and unpredictable with even more motive behind his actions as malevolent Magneto. These two keep up the great work they started in X-Men: First Class further building on that strained relationship and in one sequence it totally pays off as the two verbally hash it out in an intense scene onboard a private jet, each with some valid arguments at their disposal. 

Jennifer Lawrence gives her best turn yet as the lovely but dangerous Mystique. The war for Mystique's soul continues to rage on between Magneto's militaristic view and Xavier's serene sentiment but Mystique manages to carve out her own stake in the matter, somewhere in the middle ground, allowing for some terrific moments between all three actors as they attempt to convince each other that their way is best. 

Nicholas Hoult gets more screen time than his limited portrayal in X-Men: First Class and brings a conflicted Hank McCoy to the fray. McCoy struggles to determine whether his mutation is a blessing or a curse, repressing both his and Charles with a formula that keeps him human and helps Xavier's legs function, and I felt that his scenes focusing on his mutation elicited some memorable moments from Hoult.

Rounding out the 70's characters is Evan Peters' mischievous speed demon, Quicksilver. Like I said earlier, Peters steals just about every scene he's in and his action sequence is incredible. A huge surprise as I lacked confidence in his portrayal in my initial viewing due to his wacko costume, needless to say never judge a book by it's cover.

For our antagonist in the past and in a manner of speaking the future, we have Peter Dinklage's Bolivar Trask, a scientist whose ill feelings towards mutants aren't quite fleshed out enough to agree with. Dinklage is fine in the manner used but had potential to be a great villain.

Meanwhile in the future many of the core cast members from the X-Men Trilogy are brought back including Patrick Stewart's Professor X, Ian McKellen's Magneto, Halle Berry's Storm, Ellen Page's Kitty Pryde, Shawn Ashmore's Iceman, Daniel Cudmore's Colossus, and Anna Paquin's Rogue (In The Rogue Cut that is).

In the future, many new mutants are to be found in the form of Omar Sy's Bishop, Chinese actress Bingbing Fan's Blink, Adan Canto's Sunspot, and Booboo Stewart's Warpath. All the mutants mentioned in the future have their moments to shine fighting the sentinels. And there's a few surprise cameos which I won't spoil for those who have yet to watch X-Men: Days of Future Past.

In conclusion, X-Men: Days of Future Past is the complete X-Men movie package with incredible cast members present from both the X-Men trilogy and X-Men: First Class  memorable epic action sequences, a refined visual aesthetic, and a satisfying story that ties it all together and essentially erases the worst X-Men films from existence.

If you have yet to add X-Men: Days of Future Past to your Blu-Ray collection, I advise that The Rogue Cut is the way to go, since it includes both "The Rogue Cut" and the Theatrical Cut, so even if you don't take a liking to the lengthy The Rogue Cut you still have the more condensed version to watch. X-Men: Days of Future Past remains to be my favorite X-Men film (This includes Deadpool), and I think that The Rogue Cut actually improves on the theatrical cut in some areas, making for a more complete viewing experience that draws little more on it's predecessor, X-Men: First Class.

Film Assessment: A+