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Sunday, July 14, 2019

Crawl

CRAWL

** SPOILERS **

Apex Predator All Day

"I never thought it'd end like this," Kaya Scodelario tells her father Barry Pepper in Crawl. No doubt. How could she ever think she'd die in a watery basement eaten by alligators during a Category 5 hurricane? That's a very specific way to die but in Alexandre Aja's Crawl, that's exactly the life or death scenario Scodelario and Pepper find themselves in. Crawl is a perfect storm in more ways than one: beyond just the hurricane, which has caused floods and broken levees in South Florida, it's beyond unfortunate Pepper's house is right next to an alligator farm. Going up against one gator would be bad enough but there are multiple gators in Crawl, each hungry for Scodelario and Pepper's limbs - and they definitely get their licks in.

In Crawl, Scoledario plays a swimmer for the University of Georgia, Gainsville swim team. She's estranged from her father but goes looking for him when a hurricane hits and she finds him unconscious and badly wounded in the filthy crawl spaces of his basement. Unfortunately, Pepper's not alone: there are two gators down there too, with more on the way. That's it, that's the movie - Scodelario and Pepper have to somehow survive as the storm gets worse and worse, flooding the town and turning it into a gator party. Within this simple premise, a father and daughter reconnect and go to extremes to survive. They don't necessarily make it out with all of their limbs intact. They also have a dog, a wonderful pup named Sugar that the filmmakers wisely don't use as gator feed. Mostly a two-person and one doggo show, Crawl has a few extra characters who the gators make mincemeat out of. Meanwhile, Scoledario is in nearly every scene and she's a champ whether she has a medal for swimming or not.

Unlike sharks, the basic factoids of which have seeped into the collective unconsciousness ever since Jaws and the annual Shark Weeks and Sharknados, Crawl takes advantage of the fact that most of us don't really know a lot about alligators (I sure don't). Besides the obvious basics like avoiding the jaws, the ins-and-outs of fighting gators are a mystery, as Scoledario finds out when she dodges a gator's snapping mouth but gets whacked in the face with its tail. We wonder whether a gator attacks because its visual acuity is based on movement, like a T-Rex. And we're not exactly sure if a champion swimmer like Scoledario can swim faster than a gator - but it's fun finding out. The gators act like movie monsters when they need to and come out of the water for jump scares, but they also stay in the shadows when necessary to effectively build tension. 

Crawl starts off a bit like a crawl but then ramps up nicely. Pepper and Scoledario both get bitten quite a bit and are badly injured throughout the movie; it's probably not as easy to shake off multiple gator bites as they both make it seem and, in reality, they likely should both have bled out and died from their nasty wounds. There's one moment where a gator clamps onto Scoledario's arm and takes her on a death roll but at that late point in the film, Scoledario has been bitten so many times that she just takes it in stride as she tries to reach a flare to electricute the gator with. 

Overall, considering how Pepper, Scoledario, and the other actors and crew must have spent weeks in a wet, cold, filthy set, everyone comes out of Crawl looking like champs for their total commitment. Especially Scoledario, who holds the movie together with determination and gusto; she even has to swim through rancid water with her eyes wide open which should earn her an award of some sort just for being a great sport. Crawl is as good a father-daughter v alligators movie as you could ask for. And Crawl could even be a segment from Batman V Superman; when Scoledario and Pepper are on top of their house waiting for help, if they'd drawn a giant S shield on the roof, Superman probably would have shown up hovering over them.

Sunday, July 7, 2019

Aladdin

ALADDIN

** SPOILERS **

Hold Your Breath, It Gets Better

"The monkey knows the way," Aladdin (Mena Massoud) tells Princess Jasmine (Naomi Scott) as they both escape the palace guards after them, and anyone who has such loyal friends as Abu the monkey and the Magic Carpet is well worth knowing. Director Guy Ritchie's dazzling Aladdin brings the classic Disney cartoon and the splendorous fictional Arabian world of Agrabah to life in all its vivid, colorful glory. This is a nearly miraculous production full of endearing charm, genuine wit, and eye-popping beauty, starting with its two leads and their meet-cute: he's an orphaned thief who's dismissed as "riff-raff" and a "street rat" while she's an intelligent and headstrong princess forcibly sheltered in the palace since the death of her mother. They're both stunningly attractive, clearly into each other, and they obviously belong together. "You should be Sultan," Aladdin later assures her and it's clear that when all is said and done, Jasmine will not just rule Agrabah but Aladdin's heart as well - and he'll thoroughly enjoy being ruled by her for the rest of his days.

We all know the story: the malevolent Grand Vizier Jafar (Marwan Kenzari) wants to be Sultan but he needs the power of the Genie (Will Smith), who lives in a magic oil lamp hidden in the Cave of Wonders (voiced by Frank Welker, the voice of Megatron), to make his evil wish come true. Jafar kidnaps Aladdin, the "diamond in the rough" and the only person allowed to enter the cave (although Abu goes with him so the magical cave is clearly okay with a monkey tagging along). Inside the Cave of Wonders are treasures and riches beyond imagination, unless you're Scrooge McDuck or Smaug, in which case, you're familiar with piles of gold coins you can swim in. But there's also the lamp, which Aladdin retrieves, which means he's now the master of the Genie and the Three Wishes he can grant.

Following in the late Robin Williams' footsteps as the Genie is a daunting task but Will Smith rises to the challenge with a performance that's funny, razor-sharp, and unexpectedly emotionally moving when it counts: he's both exasperated mentor and supportively loyal friend (reluctantly at first) to Aladdin as he turns the street rat into the fictional (fresh) Prince Ali of the even more fictional kingdom of Ababwa - complete with Smith leading a musical number accompanying Prince Ali's arrival in Agrabah that brings the house down. But there's a key difference with this Genie: he's all man too and he has the hots for Dalia (Nasim Pedrad), Jasmine's eligible handmaiden who is quite interested right back. But the relationship between Aladdin and the Genie is sharply-written and poignant, especially when Aladdin ultimately delivers on his promise to free the Genie so he can live a normal life.

With a clever screenplay by Ritchie and John August that adapts the classic cartoon but also adds a few interesting new touches - mainly modernizing Jasmine with a fierce independent streak, progressive worldview, and a new, ultimate destiny - Aladdin astoundingly hits all of the high points of its beloved magic carpet ride. The costumes, sets, and production design are spectacular and,  thankfully, Scott is a powerful vocalist who belts out her part of "A Whole New World" and has an additional new song all her own. Meanwhile, Massoud is a charming Aladdin while Abu and the Magic Carpet are each remarkably loyal and endearing sidekicks. Ritchie's Agrabah is a sight to behold: a wonderous, immersive kingdom that should be its own Disney theme park. Although Kemzari's version of Jafar is a different flavor of sinister from the cartoon that takes a little getting used to and perhaps Gilbert Gottfried not voicing Iago the parrot is a bit of a letdown as well, even then, the movie just clicks and delivers genuine pleasures. Happily, Aladdin is a gorgeous fantasy and a new fantastic point of view of one of Disney's best fairy tales.

Tuesday, July 2, 2019

Spider-Man: Far From Home

SPIDER-MAN: FAR FROM HOME

** SPOILERS **

In Spider-Man: Far From Home, Peter Parker (Tom Holland) goes to Europe in pursuit of "Peter Tingles". He gets them, in more ways than one. Director Jon Watts' sprawling and entertaining follow-up to Spider-Man: Homecoming is also the 23rd Marvel Studios film, the final film of MCU Phase 3, and a sequel to both Avengers: Infinity War and Avengers: Endgame (whew). That's a lot of weight to put on Spider-Man's slender shoulders, Spider-Strength or no. As such, before Peter and his school chums from Midtown School of Science and Technology, including his trusty man in the chair Ned (Jacob Batalon) and MJ (Zendaya), the girl he has the Peter Tingles for, get to go to Europe, there's some MCU admin to get out of the way. Far From Home handles this irreverently, looking at the events of Thanos' mass genocide from the teenagers' point of view: the Decimation is now called 'The Blip', the dead Avengers (Iron Man, Captain America, Black Widow, and Vision) are memorialized with a video set to Whitney Houston's "I Will Always Love You", and everyone wants to know if Spider-Man is going to take the late Tony Stark's place as the next Iron Man and the leader of the Avengers (if the Avengers are still even a thing). 

Of course, Peter Parker can't just go on vacation, especially when the world is threatened by Elementals, other-dimensional monsters made of Earth, Air, Fire, and Water. Not long after Peter and his friends land in Venice, the city is attacked by the Water Elemental and Peter encounters Quentin Beck (Jake Gyllenhaal), a new superhero who no one seems to notice is wearing the most ridiculous costume ever, complete with a fishbowl helmet. The Italian news dubs Beck 'Mysterio' and he takes a shine to the moniker (a lot more than Peter does to Spider-Man's European name: Night Monkey). Soon, Peter is recruited by Nick Fury (Samuel L. Jackson) to help Mysterio save the world from the Elementals. Oh, Beck is from another dimension and the Elementals destroyed his world and now they've come for Earth. If that story sounds like horse shit, congratulations, you've got [insert your first name here] Tingles! Thing is, Peter doesn't want to join in on this world-saving crusade; even though it's been 8 months since he's been to space and fought two Thanoses from two different time periods, all he wants to do is go to Paris and tell MJ he has the Peter Tingles for her.

Meanwhile, even though Tony Stark (Robert Downey Jr.) is dead, Iron Man lives on in his tech and the late Avenger bequeathed his protege Peter a new toy: his favorite sunglasses, which contain E.D.I.T.H. (Even Dead I'm The Hero), an A.I. that gives Peter access to Stark's entire network of weaponry, including killer drones he can launch from Stark satellite. Peter doesn't know what to do with E.D.I.T.H. (besides accidentally use it to kill the kid who also likes MJ) and he dumbheadedly hands the tech over to Beck, playing right into his hands. For you see, Mysterio is not who he appears to be! Beck is actually a disguntled former Stark employee heading up a cadre of disenfranchised fired Stark employees and they all hold a grudge against Tony. Mysterio wanted E.D.I.T.H. to manufacture an Avengers-level threat so he can swoop in and become Earth's new Iron Man. Beck explains this in the movie's best scene: a hilarious speech of pure exposition where Gyllenhaal chews the scenery as he gleefully explains his master plan even though everyone in the room already knows it. But once Peter realizes he's been bamboozled, he throws all hope of his vacation aside to stop Mysterio.

Spider-Man: Far From Home doubles down on everything that worked in Spider-Man: Homecoming. There are more scenes with Peter and his endearing gang of buds, plus their goofball teachers, and there's just heaping amounts more of everything, to the movie's detriment. Even before they're revealed as illusions, the Elementals are letdowns as villains since, as giant water and fire monsters, they're not enemies Spider-Man can fight with his tried-and-true weapons of webs and punching. While Far From Home zips along through gorgeous European locales like Prague, Berlin, the Netherlands, and London, it feels overstuffed when the movie could have been leaner and meaner. Whereas Spider-Man received a new Stark Tech suit in Homecoming, now he has a half-dozen costumes. And while he was mostly operating alone in Homecoming, now he's got tons of help, from MJ, Ned, Nick Fury, Maria Hill (Cobie Smulders), and Happy Hogan (Jon Favreau), who happens to be dating Peter's Aunt May (Marisa Tomei). And while it seems there's no problem Spider-Man can't solve with enough Stark Tech, Peter does Spider-Man-up in Far From Home and the film addresses his Spider-Sense, making him earn one of his classic superpowers so it ends up being the difference-maker against Mysterio's incredible illusions. All the while, Holland easily plays an immensely likable Peter Parker, Gyllenhall is a dynamite Mysterio (I wish there was even more of him in the film), and the whole gang give Americans a good name all over Europe.

There are also big surprises in Spider-Man: Far From Home and the ones with the most ramifications for the future of Spidey and the MCU come at the end. Far From Home's final minutes finally bring Spider-Man to the familiar concrete jungles of Manhattan so that Tom Holland's webhead now swings across the same cityscape that his predecessors Tobey Maguire and Andrew Garfield did. (Only this time, MJ hates swinging along with Spidey, unlike her predecessor Kirsten Dunst.) After four films (counting the Avengers movies) of the MCU's Spider-Man avoiding the tropes of the Maguire and Garfield films, Spider-Man truly comes home to New York City - and he's hit with a double shock: the return of J.K. Simmons as (a bald) J. Jonah Jameson, who then reveals doctored footage left by Mysterio exposing Spider-Man's secret identity to the world. In the words of May in Homecoming's final seconds, "What the fu--?!?" And this is before the big Skrull reveal that seems to set up Captain Marvel 2. So despite Spider-Man's NYC homecoming in Far From Home, he's now in unfamiliar territory with the whole world knowing Peter Parker is Spider-Man. You might say it's a Brand New Day for poor Peter Parker.

Friday, June 28, 2019

Yesterday

YESTERDAY

** SPOILERS **

Danny Boyle's Yesterday posits an alternate reality where The Beatles never existed, which turns out to be both great and terrible news for Jack Malik (Himesh Patel). Mostly terrible, really. Jack, a struggling musician living in Clacton-on-Sea, UK, is run over by a bus during a global blackout that lasted for 12 seconds. When Jack comes to, he soon realizes that no one understands the Beatles references he drops, nor do his friends recognize the song "Yesterday" when he plays it for them. Panicked Google searches soon reveal the stunning truth: somehow, the blackout wiped The Beatles from history (among other random things like Coca-Cola, cigarettes, and Harry Potter). 

From this wacky high concept, Boyle and his screenwriter Richard Curtis hang a sweet, awkward, but frothy story of a man who is nothing particularly special seizing the opportunity to pretend that he is the sole author of some of the greatest rock songs ever. At first, Jack performs and records the Beatles' music just to preserve them but soon, the magic of the Beatles' hits lands him TV spots, which leads to Ed Sheeran himself showing up at Jack's door to invite him on tour. Poor Ed is exceedingly jealous of this nobody who somehow writes and performs songs that are instantly legendary, and Jack is quickly scooped up by an L.A.-based record label. Jack's record deal comes with a new, ball-busting manager (Kate McKinnon), but this means Jack has to leave behind his previous manager Ellie Appleton (Lily James), who has unrequitedly loved and supported Jack since they were classmates together in 2004. 

While Yesterday is an unabashed lovefest for the Beatles and their music, the film is clever enough to recognize and poke fun at the fact that those songs are from the 1960s and come off as dated in 2019. On one hand, "Let It Be", "Yesterday", "I Wanna Hold Your Hand", etc. remain as powerful as ever, but they're from an entirely different era, which is what makes them refreshing juxtaposed against today's heavily sampled and remixed pop music. And yet, some of the film's best jokes come at the expense of the Beatles' eccentricities: the album titles Sgt. Pepper's Lonely Hearts Club Band makes no sense and The White Album comes off as racist. Ed Sheeran also insists "Hey Jude" would be better and more contemporary if it was changed to "Hey Dude". McKinnon also hilarously (and correctly) sizes Jack up as "not attractive, out of shape" i.e. not a rock star. However, the novelty of one man supposedly writing and performing so many incredible songs in such a short period of time rockets Jack Malik to global stardom, but the guilt of being a complete fraud rips his soul apart, as does his realization that he also loves Ellie, who can't join him on this journey and has moved on romantically.

Boyle and Curtis wisely don't explain the hows and whys of the new reality, nor do they go into detail about the whereabouts of the surviving Beatles, and this lets them drop a huge surprise in the third act when the last Beatle anyone expected to see turns out to be alive. This leads Jack to finally listen to his conscience and tell the truth about being a fraud but, fortunately, he's not a fraud about loving Ellie. While James and Patel share an easy chemistry and she is at maximum Lily James-level charm, but Yesterday itself isn't Danny Boyle at his Danny Boyle-iest - the director only fleetingly dips into his bag of distinct cinematic wizardry. Rather, Boyle lets the actors and the music of the Beatles carry the load, and it all fuses into a lovely climactic montage of Jack and Ellie's life happy life together set to "Ob-La-Di, Ob-La-Da ". While Yesterday isn't quite all it could have been, it packs enough irreverence, joy, wit, heart, and music that you recognize its deficiencies but just let it be.

Friday, June 21, 2019

Anna

ANNA

** SPOILERS **


"I work for the KGB, baby," Anna Poliatova (Sasha Luss) snarks to KGB chief Olga (Helen Mirren) at her job interview, but the truth is she doesn't want to. A former junkie and aspiring entrant to the Russian Navy (like her dead Soviet sailor father), Anna was recruited by Dracula Alex Tchenvok (Luke Evans) because she fits the profile for Hot Blonde Female Assassin in an Action Movie. And, since Anna looks like a fashion model, et voilĂ ! She is both! As part of her deal, Anna must spend 5 years (1 in training, 4 in the field) serving her country as a government-sponsored assassin so the KGB sets her up with an ideal cover as a model in Paris. Anna books jobs, she has a Parisian girlfriend named Maud (Lera Abova), and when a shoot wraps, she jumps in a car, takes out a target, and reports her mission status to Olga via payphone. It's a great life but Anna hates it with a passion. She hates being a model and hates being a killer. What's option C for Anna?

Luc Besson's Anna is a stylish, efficient, Cold War assassin's tale. Set in 1990-1991, with flashbacks to 1985, 1987, and 1988 (the film keeps circling back onto itself to explain its various twists and turns), Anna's dangerous world of glastnost keeps her very busy. Though she's a reluctant killer, Anna is highly trained and can take out a room full of soldiers all by her lonesome without any type of superpowers. But what she really wants is to be free and not have her destiny dictated to her by men or women doing the bidding of their governments. Anna's dream is to go to Hawaii and live in the idyllic image of the postcard her father once brought home and stuck on their refrigerator; when she returns from a vacation in St. Tropez, she gives a similar postcard to Olga, who pretends she isn't touched by the gesture. Olga can't and won't make retirement in Hawaii happen for Anna - but the Americans can.

Enter The Scarecrow Leonard Miller (Cillian Murphy), a CIA agent working a long range plan of vengeance against the KGB. In 1985, the new KGB chief, Vassiliev (Eric Godon), asserted himself in his new position by executing 9 CIA agents in Moscow and sending their heads in boxes back to Miller at Langley Gwyneth Paltrow-in-Se7en-style. Five years later, Miller catches onto the tall, foxy, blonde killer the KGB has installed in Paris and sets a trap for Russia's best honeytrap. Anna then becomes a double agent, informing the CIA of her KGB-sponsored activities. Meanwhile, Miller personally walks into Anna's honeytrap himself, unaware that Anna has also had a longstanding relationship with Alex, her man in Moscow. The odd lover out is poor Maud, who is frozen out by Anna and kept totally in the dark (although why Anna remained in her cover in Paris after she eliminated the target she was sent there for in the first place remains a mystery). Soon, Miller makes Anna an offer she can't refuse: kill Vassiliev for him in retribution for the 9 heads-in-boxes and Miller will send her to Hawaii (though she can't pick which island). 

What results is an engaging spy thriller held together by the solemn but sincere charisma of Sasha Luss, who is a real-life former Russian model discovered by Luc Besson. Luss's Anna is ably supported by the acting firm of Mirren, Murphy, and Evans, three skilled veterans who make this whole enterprise work. While Anna is a B-movie, it's a sexy and entertaining one that includes a terrific montage of Anna's assassinations set to INXS' "Need You Tonight" and some amusing Eurotrash caricatures who evoke the over-the-top drama queen Chris Tucker played in Besson's The Fifth Element. Amidst the violence, there are indeed a few laughs, like Miller having to give a green light to Anna chopping off the index finger of her target. But the best joke in Anna is right before she kills Vassiliev during a game of chess: the old KGB spymaster compliments Anna on her successes and notes that usually, the KGB doesn't hire beautiful women like her because they cause problems. "That's why we hire the ugly ones," he explains, before adding, "Speaking of Olga..." Obviously, Vassiliev never saw Excalibur and how hot Helen Mirren was - she gave Anna a run for her money back then. Ask Merlin.

Dark Phoenix at Screen Rant

DARK PHOENIX AT SCREEN RANT

Dark Phoenix is the final X-Men film of the Fox era. The X-Men saga has lasted for 19 years and I was there since day one. In the long buildup to Dark Phoenix's release, I've been fortunate to write a lot of Screen Rant Features about the film and the X-Men franchise as a whole. Here they all are collected below:















Thursday, June 6, 2019

Dark Phoenix

DARK PHOENIX

** SPOILERS **

"We're all that's left, the last of the First Class," Mystique (Jennifer Lawrence) tells Beast (Nicholas Hoult), and we feel the significance of how long these X-Men have known each other and how long we, in turn, have known them. Though you'd never know it by looking at them, Mystique and Beast, along with Professor Charles Xavier (James McAvoy) and Magneto (Michael Fassbender), have known each other since 1962. They are indeed the last of X-Men: First Class, which rebooted the X-Men saga into a new continuity. Like the four X-Men founders, writer-director Simon Kinberg's Dark Phoenix is the last of this quadrilogy of films and also the last of the 19-year saga of X-Men movies from Fox. It's both a continuation and a finale about endings, rebirths, and... evolution. The film strains and teeters under all of that weight and it never truly takes flight (it tries but can't quite). And yet, it's still a pleasure to be with these X-Men after all of these years.

While it seems so on the surface, Dark Phoenix is thankfully not a retread of X-Men: The Last Stand. Instead, it feels like a glorified TV episode, which is both a good and bad thing. Good because at least it strives to be Peak TV and hits some of those dramatic notes; bad because it still feels undercooked and it could be grander, but it isn't. What is here, though, is rather interesting. We know the beats of the Dark Phoenix Saga story by heart, even if you've never read the comic: Jean Grey (Sophie Turner) is a powerful mutant psychic with a tragic past (in this telling, her powers caused the death of her mother when she was 8) who is imbued with a cosmic force from outer space that she can't control. The Phoenix Force (though it isn't called that) feeds on her rage and trauma, which was kept in check by psychic walls secretly built by Professor X, and transforms her into a malevolent, god-like being. The X-Men try to bring her back to the Jean they know and it ends in tragedy.

Dark Phoenix's first act is its best: the year is 1992 (though you'd never know it from the fashion or music) and the X-Men are beloved, rock star superheroes on call from the President of the United States. (Xavier even has an X-Phone hotline to the POTUS.) When the space shuttle Endeavor is damaged by a solar flare, Mystique leads her team of X-Men, including Beast, Jean, Storm (Alexandra Shipp), Quicksilver (Evan Peters), Nightcrawler (Kodi Smit-McPhee), and Cyclops (Tye Sheridan) into space on a rescue mission. The X-Men save the astronauts but Jean is struck by the solar flare, which is actually the cosmic Phoenix Force. Instead of dying, Jean's powers grow "off the charts" and the walls in her mind Xavier built come crashing down. The cool thing about all of this is seeing something we've never seen before: the X-Men outright loved by the public. They get a standing ovation from the young students at the Xavier School and they even have a party in the woods with Dazzler (Halston Sage) as the entertainment. Meanwhile, Xavier soaks up adulation with all of the false modesty he can muster at a black-tie gala. All of this is accompanied by a groovy Hans Zimmer score that alternates from heroic bombast to eerie foreboding as the Phoenix grows Dark. 

Mystique and Charles have been friends since the 1940s but they've never really seen eye-to-eye. She thinks his lifelong patriarchy and ego-trips (she even calls out the sexist "X-Men" name) will lead to disaster - and she's right. He argues that he's finally achieved his dream - humans trusting mutants and regarding them as heroes - and he's also right that mutants are only one bad day from becoming public enemy number one again. That day comes immediately when the newly Dark Phoenix-ed Jean escapes the X-Mansion; she realizes that Xavier has lied to her for 17 years and that her father is actually alive. Just like in The Last Stand, there's a confrontation at Jean's childhood home and an X-Man dies, but this time it's Mystique, whom Jean kills (and not accidentally). Jennifer Lawrence's reluctant but heroic shapeshifter dies with a whimper and this splits the X-Men apart, with Beast blaming Xavier since they are two of the three men who have loved Mystique since 1962. 

Meanwhile, Jean seeks out the third man who loved Mystique: Magneto, who now runs a mutant refuge on the island of Genosha. Unlike Ian McKellan's Magneto, who wanted to seduce Dark Phoenix into his Brotherhood, Fassbender's version doesn't want anything to do with Jean. But someone who does is Vuk (Jessica Chastain), the leader of shapeshifting aliens called the D'Bari, who lost her whole planet to the Phoenix Force. Vuk plays the role of seducer to Jean, offering to teach her how to control her power, but what she really wants is the Phoenix Force itself, which she is somehow also strong enough to absorb. The movie is unclear about how Vuk can also be its host, but Vuk doesn't mince words that she doesn't care about humans and she wants the Phoenix Force so the D'Bari can take over our planet. The whole thing ends with a mutant brawl on a block outside Central Park West, which leads to all of the X-Men captured on a train by the US Military, which then leads to a big train fight between the X-Men and the D'Bari where Jean fully evolves into the Phoenix Force. Unlike the comics or The Last Stand, Jean doesn't die. Rather, Dark Phoenix fulfills the original voiceover by Patrick Stewart's Professor X in the first X-Men movie: "Mutation. It's the key to evolution." Jean transcends her mortal form and embraces her destiny as a cosmic being. While it doesn't quite stick the landing, it's still a better ending to this story.

Just as Charles argued in favor of Jean despite the chaos she caused, I would argue that there is a lot of good in Dark Phoenix. There's more intimacy between Tye Sheridan's Scott and Sophie Turner's Jean than there ever was between Famke Janssen's Jean and James Marsden's Scott (it's easier when there's no Wolverine at all in Dark Phoenix). Cyclops even drops the F-bomb - "I will fucking kill you!" - at Magneto. Alexandra Shipp's Storm also has more to do and is a better fighter (and lightning thrower) than Halle Berry's version, while Kodi Smit-McPhee's Nightcrawler is the MVP and has some cool action moments - the X-Men could not have accomplished anything in this film without his BAMFs. Alas, Evan Peters' Quicksilver is short-changed; Dark Phoenix doesn't attempt a three-peat of the superspeed rescue sequences set to a pop song that were memorable highlights of X-Men: Days of Future Past and X-Men: Apocalypse. However, there's a clever reversal of one of McKellan's signature quips: "You homo sapiens and your guns!" This time, Fassbender's Magneto uses a trainful of guns as weapons and opens fire on Vuk.

As the centerpiece of the film, Turner has much more inner turmoil to play and she digs deep. Also - this is important - no X-Man has to save Jean as she can save herself, thank you very much. Still, Jean isn't exactly a witty conversationalist and she doesn't have much of a personality, whether or not she's malevolently powerful. Dark Phoenix ends not unlike The Dark Knight Rises, with Charles Xavier retired in Paris and Magneto still looking to play his old friend in a game of chess. It's a low key and muted ending to the grand, messy, but weird and wonderful X-Men saga, but Dark Phoenix also contains a meta-joke for the X-Men's future: when the military captures the X-Men and transports them to the Mutant Containment Unit. The X-Men didn't make it to the MCU in Dark Phoenix but they'll get there regardless soon enough. And when the next evolution of the X-Men begins in the MCU, we hope it'll also be first class.

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