Video review: "Dark Phoenix"

Most people and critics regarded “Dark Phoenix” as a bad stumble to end the X-Men franchise -- at least for the time being, as it may be rebooted under anew banner. While the film has its failings, I think it stands up to most others in the superhero game.

I remember years ago interviewing Famke Janssen, who played Jean Grey in the original films, and hearing her disappointment that her group didn’t get around to depicting the Dark Phoenix Saga. Comic book fans speak reverentially about the DPS as one of the greatest storylines told, in which pure-hearted telepath/telekinetic Jean turns into one of the most malevolent forces of evil ever seen.

Sophie Turner takes over the role, and while I can’t help thinking Janssen would’ve been better, I think Turner acquits herself just fine. The important thing is that the relatively meek Jean discovers a taste for power she never knew she had.

It seems that her mentor, Professor Charles Xavier (James McAvoy), has hidden some aspects of her past from her, which sets off a chain of events that will see her square off with her fellow X-Men, including Cyclops (Tye Sheridan), Storm (Alexandra Shipp), Quicksilver (Evan Peters), Nightcrawler (Kodi Smit-McPhee), Beast (Nicholas Hoult), Mystique (Jennifer Lawrence) and even nemesis/occasional ally Magneto (Michael Fassbender).

This is a lean, mean superhero story without much preamble or contemplative downtime. With so many overwrought, overlong flicks these days -- yeah, I’m lookin’ at YOU, “IT: Chapter Two” -- it’s nice to experience one that prefers the straight-ahead approach.

Bonus features are good, anchored by a feature-length video commentary by wrier/director Simon Kinberg and producer Hutch Parker. There is also an expansive five-part making-of documentary, “Rise of the Phoenix: The Making of Dark Phoenix,” five deleted scenes and the following featurettes:

• Scene Breakdown: The 5th Avenue Sequence
• How to Fly Your Jet to Space with Beast

Movie:



Extras:

Review: "Dark Phoenix"

I still think the first iteration of the X-Men would’ve done a great job with the Dark Phoenix Saga, one of the most storied arcs in comic book history. That cast of the superhero outcast mutants -- Hugh Jackman, Famke Janssen, Halle Berry, Patrick Stewart -- felt the most emotionally true of any super-franchise.

You could feel their sense of alienation and conflict about whether they should serve the humans who hated their kind, or dominate them.

But I’m pleased to say the “new” X-Men still pull it off with plenty of emotional and action oomph. “Dark Phoenix” will reportedly be the final film in the series produced by 20th Century Fox, though my guess is eventually it’ll be merged with the Marvel Comics Universe (MCU) the way Spider-Man was, and we’ll see more X-films with yet another cast.

The Dark Phoenix story is well-known to even casual comic book fans. Jean Grey (Sophie Turner), a telepath/telekinetic and protégé to Professor Charles Xavier (James McAvoy), is irradiated with alien energy during a rescue mission. She seemingly dies but is resurrected with fantastically heightened powers, dubbed Phoenix like the mythical bird that rises from its ashes.

But great power brings great temptation, and Phoenix begins to use her abilities for less-than-benevolent purposes. Eventually her own team of X-Men turns on her, seeing her as a threat to their hard-fought peace with humans.

This film time-jumps to 1992, seven years after “X-Men: Apocalypse.” The X-Men have become accepted by mainstream society and hailed as heroes. Professor X has gotten bit drunk on his status, both figuratively and literally, swilling from omnipresent tumblers and enjoying a direct phone line to the President.

“The way the women keep saving the men around here, you might consider changing the name to X-Women,” one veteran needles him.

After the accident, Jean goes searching for clues to her long-buried past, and the terrible accident that killed her parents and brought her into Professor X’s charge at his school for mutant children. She gets angry when she learns the truth, things escalate, and collateral damage soon becomes an existential threat that brings multiple power centers to bear.

Writer/director Simon Kinberg, a veteran producer and screenwriter directing his first feature (after Bryan Singer exited the franchise in a cloud of controversy), has a good eye for action scenes, though some of the talkie scenes are rather clanky.

(He also knows how to shoot Turner to beneficial effect in a way her myriad “Game of Thrones” directors never seemed to grasp, aka chin down.)

Michael Fassbender turns up again as Magneto, conflicted former villain now maintaining an uneasy peace with humans. Other familiar faces are Tye Sheridan as Cyclops, who shoots energy beams from his eyes and is Jean’s beau; Alexandra Shipp as weather-controlling Storm; and Evan Peters as max-speed Quicksilver.

And then, of course there’s the “blue trio”: Jennifer Lawrence as shape-shifting Mystique; Kodi Smit-McPhee as teleportation devil Nightcrawler; and Nicholas Hoult as the Jekyll/Hyde scientist/monster, Beast. It’s weird that it never struck me before they all share the exact same shade of midnight sapphire.

Jessica Chastain is the chief villain as Vuk, the icy blonde leader of a mysterious alien race known as the D’Bari that has a nefarious interest in Phoenix and her dark power.

There’s not a lot of subtext, humor or wasted energy in “Dark Phoenix,” just a straight-ahead thrill-seeker about a woman everyone had dismissed as timid who finds she enjoys the taste of power too much. I admit that if I had that kind of cosmic control in my hands, I’d be inclined to command some more X-Men movies.

Review: "Barely Lethal"

There are a lot of young and charismatic performers in “Barely Lethal,” and I wanted to hug each of them, tell them how talented they are, and comfort them with the knowledge that appearing in this movie won’t ruin their careers.

This teen action/comedy is the sort of forgettable film that you make when you’re breaking into Hollywood and just want to get some credits under your belt. You get a paycheck, learn from the experience, and try to choose better projects from then on.

The strange thing is that many of the people involved are already bona fide names in showbiz.

Hailee Steinfeld, an Oscar nominee for her terrific turn in “True Grit” and part of the “Pitch Perfect” crew, is the lead. Sophie Turner, best known as Sansa Stark on HBO’s “Game of Thrones,” is the bitchy adversary. Toby Sebastian also was in “Game of Thrones” in a smaller role. Gabriel Basso was in “Super 8” and “The Kings of Sumer.” Plus Samuel L. Jackson, Jaime King and Jessica Alba turn up.

So what are they doing in this silly flick about a teen super-spy who decides she’d rather experience high school instead? I don’t know. I honestly don’t know.

It’s essentially “21 Jump Street” except instead of being a cop, Steinfeld is Agent 83 of the Prescott School for Girls, a place where orphans are raised to be deadly assassins. Jackson is the stern taskmaster. But 83 yearns for something more, and after dousing herself in a raft of teen movies like “The Breakfast Club,” she decides to fake her death and do the John Hughes thing.

Dubbing herself Megan, she poses as a foreign exchange student – from Canada! – and embeds herself with a family in wholesome Newtown. Soon she’s navigating the familiar obstacles of mean girls, clueless teachers and romantic angst.

Dove Cameron plays Liz, the acerbic daughter of her foster family, who wants nothing to do with her. Sebastian plays Cash, the dreamy wannabe rock star of the school whom all the girls swoon over, including, soon enough, Megan. Thomas Mann is Roger, the geeky-but-nice guy who develops a crush on her. Basso is the Gooch, local athlete-meathead.

Director Kyle Newman and screenwriter John D’Arco put all these actors through the familiar paces without much flair or originality. You know it’s just a matter of time before Megan’s spy life invades her high school one, with Alba playing the evil renegade agent who wants revenge on the Prescotts. The comedy is broad and the storylines worthy of cable TV.

I think “Barely Lethal” is trying to be a parody of dumb teen movies, but ends up turning into one itself. If imitation is the sincerest form of flattery, then becoming that which you mocked must be the cruelest insult.