Dark Phoenix (2019)
Directed by Simon Kinberg
The X-Men face their most formidable and powerful foe when one of their own, Jean Grey, starts to spiral out of control. During a rescue mission in outer space, Jean is nearly killed when she's hit by a mysterious cosmic force. Once she returns home, this force not only makes her infinitely more powerful, but far more unstable. The X-Men must now band together to save her soul and battle aliens that want to use Grey's new abilities to rule the galaxy.
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Ya se burló Deadpool de este tema: las líneas de tiempo de las películas de X-Men apenas tienen sentido.
Based on arguably the best X-Men arch in its long tenure in comics (which itself was adapted from the incredible Fox cartoon series), Dark Phoenix marks the directorial debut of Simon Kinberg, who previously made a career out of producing a slew of action blockbusters, including all of Fox’s recent X-Men titles and the Deadpool series.
X-Men: Dark Phoenix is the final chapter to a 20-year franchise which has lost its way as of late, unless we’re talking about spinoffs like Logan or Deadpool which worked really well.
It’s a disservice to a great cast and X-fans everywhere to undermine all that has come before only to be upstaged by two farcical Deadpool movies that provide a far better representation.
So before Logan and Deadpool wowed us with their uniquely specific sensibilities, the gang got together for Apocalypse.
Whilst the 1980’s and 1990’s gave us Superman and Batman films, and, though a Marvel brand, the Blade films were seen more as Wesley Snipes features rather than a comic-book outing, it was 2000’s X-Men that would unknowingly launch the phenomenon that’s become something of a staple in today’s cinema climate.
It wasn’t the first superhero movie or even the first film based on a Marvel comic (“Blade” debuted two years earlier), but it seemed to rise out of the shadowy depths of the campy DC movies and the overlooked ghettos of the action-horror genre.
It was my favorite comic book as a kid, and the 2000 X-Men , the movie that primarily jump-started this entire cycle of superhero cinema (although Blade , which preceded it, also deserves a salute), was like a godsend to those who had long dreamed of seeing Wolverine, Cyclops et al on the silver screen.
The 1-2-3 punch of that movie, Blade in 1999, and Spider-Man in 2002 helped usher in the era we live in today.
Si bien es cierto que películas como “Blade” ya habían tenido cierto éxito en la década de los 90, fue la primera entrega de “X-Men” la que inauguró la época dorada del cine de superhéroes.
Only death will work as Logan (2017) indicated.
Like with 2017’s Logan , the film seems to be a conscious attempt to break free of the bigger-is-better strategy that informed recent X-Men adventures such as Days Of Future Past and Apocalypse .
Nor will anyone hoping for a definitive adaptation of "The Dark Phoenix Saga" or a return to the spectacular quality of Day of Future Past or Logan find what they're looking for.
The film is much more in the league of Logan , 2017’s revisionist take on Wolverine, then the standard time-travel fare that’s marked a lot of the X-Men movies.
Jump ahead now to 1992 -- and yes, this franchise is forever set in the near past now, only adding the interminable confusion of what actually happened when and first (our only constant for the first plethora of films was Hugh Jackman's Wolverine, but with Logan , now his character is spun out as well) -- where the stable of X-Men includes a grown-up Jean (Sophie Turner); her boyfriend Cyclops (Tye Sheridan); the element-controlling Storm (Alexandra Shipp); the brilliant, bouncy Beast (Nicholas Hoult); and the teleporting blue demon Nightcrawler (Kodi Smit-McPhee), all led by the shape-shifting Raven (Jennifer Lawrence).
Add a one-off flash-forward to give Hugh Jackman his swan song with Logan and nobody would have faulted the studio for walking away with a satisfactory conclusion.
After Brett Ratner's pitiful conclusion to the original trilogy, X-Men: The Last Stand , the series began to play with its timelines in exactly the same way reboots of the comics do--jumping ahead decades, sending series favourite Wolverine back in time to stop a mutant genocide--and consequently delivered a few gems along the way in X-Men: Days of Future Past , The Wolverine , and Logan .
The ship was righted thanks to the timeline-altering reboot that began with “First Class” in 2011, a good Wolverine movie (“The Wolverine”) and a capital-G Great one (“Logan”) and the introduction of Deadpool.
It’s telling that “Dark Phoenix” doesn’t have the “X-Men” name in the title, following the pattern of the “Deadpool” movies, “The Wolverine” and “Logan,” and the much-delayed “The New Mutants.”
It's the latest and supposedly last installment -- at least of this most recent iteration -- of the X-Men series that's had its ups and downs in terms of quality since kicking off with 2000's "X-Men" and running through 2016's "X-Men: Apocalypse," with some spin-off ("Deadpool") and single character pics ("The Wolverine" and "Logan") along the way.
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It doesn’t work for a moment, not least of all because the script burdens Julian Dennison, so charming and effervescent in Hunt for the Wilderpeople , with a thankless and unlikable supporting role.