K.T Simpson
Thirteen movies in, Marvel and Fox’s incarnation of the “X-Men” film series prepares for its curtain call — but not before a smaller but poignant final act.
As avid fans of the classic comics know, telepathic X-gal Jean Grey ultimately finds herself tainted by a force that brings out her wild side.
“Dark Phoenix” charts the fall of Grey, exploring her fifty shades of despair and destructive new attitude, as her loyal teammates – led by leader, professor Charles Xavier (James McAvoy) – rush to her aid, before she’s destroyed.
The film opens with the now well-renowned seemingly for-hire-superhero-team blasting off to space to rescue a ‘spinning’ shuttle. It’s there that flaxen-haired heroine Jean Grey (Sophie Turner) is infected with the cosmic germ that sets the course of her destructive path. As the feral, raging ‘Dark Phoenix’, Grey proves too much for the team members that love and shelter her – particularly Charles Xavier (James McAvoy) – but a match for an invading alien (Jessica Chastain) hellbent on acquiring the magic dust Grey’s been sprinkled with.
A rollicking third-act follows, where the team take on the iniquitous alien and her horde in a high-speed train. From “Matrix”-good combat scenes to the bad guys visually-fun comeuppance, it’s the kind of elongated slick sequence that’s become a staple of the “X-Men” series.
In fact, most of the film’s splashy, action-centric moments are choreographed and visualized tremendously. Whatever the budget, it’s all their on the screen.
The strength of the piece though is in the story at hand – this is a strong character-driven piece that’s handled astutely and affectionately.
Yes, the minimalist approach to the brand might sour some, but the strength of the play and plays on screen should help turn the noise down on the cut-back look and feel.
Not to say this is a film without issues.
The most noticeable flaw “Dark Phoenix” encompasses is in its direction. Long time “X-Men” screenwriter Simon Kinberg has the reigns here, and his inexperience and lack of flair is palpable. Where Bryan Singer, director of the first and best two films in the series, would provide emotional, tense punch to drive the storyline and structure his grandiose action sequences, Kinberg seemingly lacks the know-how to motivate or push a scene along, content with just letting each scene – shot in a lazy ‘point and shoot’ method – just wipe from one to the next. Kinberg is the wimp tackling the jock, he’s devoid of punch.
The film resembles not a pricey superhero epic but a small, modestly-budgeted cable TV pilot. Nothing particularly wrong with that, but considering the size and scope of the films that came before it, the intimacy and restraints here are highly noticeable. And some will feel let down by that – but maybe they only need be reminded that bigger isn’t necessarily better by going back and watching “X-Men : The Last Stand”, “X-Men Origins : Wolverine” or “X-Men : Apocalypse”.
Scrappy direction and plotting aside, What saves “Dark Phoenix” is the capable cast, outstanding visual and special effects and relatable, character-driven plot. Inspired by the popular comic book arc of the same name (and forgettably used to poor effect in “X-Men : The Last Stand”), this is a real-world anecdote masked in superhero clothing. Just as the majority of the “X-Men” movies were essentially about racism, prejudice and acceptance, this chapter is about mental illness, the difficulty of controlling it and the shameful damage that can result from episodes. Sure, there’s a cosmic superhero excuse for Jean Grey’s actions, but underneath that, a reminder that a ‘dark’ feeling can overcome any of us, at any time, and it’s important that the victim knows people are there for him or her, and help them get help before any damage is done to themselves or others.
While A-list villain Jessica Chastain has the thankless task of playing a rather generic, empty rogue (did she lose a bet?), and Oscar winner Jennifer Lawrence is clearly only here to fulfil her contractual obligations to the series (her ‘Raven’ is barely in the film), there’s some dynamite moments here from some of the core players : Nicholas Hoult gives his best turn yet as Hank McCoy/Beast, in what can only be described as an emotionally-charged turn for the fluffy hero, Tye Sheridan has some nice moments as Cyclops, and “Game of Thrones” alum Sophie Turner offers up an award-worthy turn as the afflicted, lost Jean Grey.
It’s also a treat anytime McAvoy’s Charles Xavier and Fassbender’s Magneto are on screen together – sad that this might be the last time we see the duo battle over a chessboard.
If this is indeed the final installment of the “X-Men” franchise as we know it (the new owners at Disney are reportedly planning to reboot the franchise), then Fox has made sure to reward us with a rollicking, emotional and thrilling addition to the series for our of 19-years of loyalty.
It’s getting a bad rap by quite a few, likely because of the downsized scale and workman-like direction, but don’t be put off by meek beefs, this is an “X-Men” movie that still soars in more than a few spots.
