The appeal of Project Power is immediate with its premise, which stirred a bidding war before finally ending up with Netflix. Take a pill and become a super hero for five minutes. Every person has a unique power and won’t know what that entails until they swallow that pill. However, there is also a risk that your body has a negative reaction of the exploding kind. I can see why studios would be all over that, on top of the fact that it plays into established popular cultural tropes, it still gets to be an original property. The finished film, on the other hand, leaves much to be desired, and I’m convinced that this hot commodity script went through a gauntlet of rewrites and producer interference, each new obstacle dimming and diminishing what made Project Power an exciting and compelling idea from inception. Well the concept is still interesting, and its relatively grounded sci-fi world has genuine potential, but the movie falls flat and is far too generic to be special.
Drug dealers are flushing New Orleans with a super pill that activates fantastic powers, though only for five-minute integrals. Frank (Joseph Gordon-Levitt) is a local police officer who secretly keeps a stash of the pills for himself, to juice up to take on the escalating criminals. His supplier is Robin (Dominick Fishback), a teenager looking for a better life, who comes into contact with the mysterious and volatile Art (Jamie Foxx). He’s a man on a mission and working his way across the streets to go from supplier to supplier, working his way up the criminal food chain until he can confront the authority behind the super pill creation and distribution.
The premise by debut screenwriter Mattson Tomlin (The Batman) is tantalizing and makes every pill its own “what if?” scenario. I’m unsure whether or not the risk of bodily explosion occurs for every person or simply those whom the drug doesn’t agree with. I think it would be more interesting if every person stood some chance of risk. I talked about it with my girlfriend, if there was a pill that granted super powers but it also ran the chance of death, would you take it? We both answered, “Of course.” Who wouldn’t want to be a super hero, even if it’s only for five minutes? Naturally, much like within the X-Men universe, not every super power is on the same level of being useful. There’s a guy who grows extra bones, which serve as spikes attached to his body. I guess that’s something. It reminded me of the unfortunate mutant in X-Men 3 who could grow porcupine quills from his face (he even managed to coax someone near him to kill them). With such a momentous shift in human evolution, and through the angle of drug addiction, you would think Project Power would be the early steps of a complete re-examination of a changing society and the forces falling behind to try and catch up. This should be a big deal, and yet it never feels that way in this world. Super-powered criminals aren’t running rampant. One invisible guy robs a bank naked and it’s comedy. Nobody seems too panicked or bothered. It weirdly feels like everyone has already not only accepted this reality but compartmentalized it. If one city has a new super drug, would it not stand that others in neighboring cities and states and countries would also desire it? Should this not be dominating the news?
The characters are remarkably generic. Our heroes include a beat cop who “doesn’t play by all the rules” and goes on a secret mission to root out this drug conspiracy, a young black woman who wants to be an aspiring rapper while she’s slinging drugs, and a military veteran who was subjected to experiments and is desperate to find and save his kidnapped daughter. We’ve seen each of these archetypes in a thousand other action thrillers, and the fact that Project Power doesn’t give us any more than this is stunning. With some minute personal details, I have laid out everything we know about the three main characters in this movie. That’s it. It’s like each character was checking an archetype box and then was forgotten to be fleshed out. The worst is Art, a character that is coasting on Foxx’s attitude and charisma but is otherwise completely vacant. The kidnapped daughter storyline is maybe the most boring motivation that a protagonist could be saddled with. He might as well be a video game character from 90s-era titles, a military man who was betrayed by his government, experimented upon, given dangerous new powers, and now he’s striking out to save his daughter. It’s so bland and generic and boring. None of the major characters exhibit an interesting personality quirk, flaw, desire, or a point to make them more interesting than if a new nameless character had suddenly taken over from the background.
This extends to the villains as well. Their evil schemes are too vague and they’re just as generic and bland. The villains are also far too easily defeated, which drains any threat from their machinations. Without memorable or effective villains, Project Power limps to a finish, lacking the needed payoffs of our heroes triumphing over their foes. Does anyone care when Art defeats a secondary antagonist that is introduced far too late in the final twenty minutes? It’s too late to be introducing a Big Bad in the movie that is meant to be savored when vanquished. It’s not satisfying when the bad guys are dumb or nebulous or too easily beaten. I felt more antipathy with a bearded henchman than I did with any of his superiors. This is such an easy thing to do, establish a worthy opposition with personality and menace, a force that an audience will feel a sense of accomplishment and fulfillment over their eventual defeat. Make the villains matter. Regrettably, the villains in Project Power are just as generic and underdeveloped as the heroes.
Directors Henry Joost and Ariel Schulman have dabbled in many genres, first documentary (Catfish), then found footage horror (Paranormal Activity 3 and 4), then youthful thrillers with social media satire (Nerve), and now super hero action cinema. The versatility is to be commended, and they certainly infuse plenty of energetic style into Project Power. The special effects are pretty good when the powers are somewhat visually chaotic, like a drug dealer who becomes the Human Torch, running through ignitable room after room, while the camera zips along, lovingly documenting the rippling flames and embers. The camerawork and lighting can definitely provide jolts of excitement and engagement when the storytelling falters. However, there are moments that should have been avoided, like violent acts presented in unclear ways, perhaps trying to avoid a harsher rating that it ultimately got anyway. Another sequence is from the point of view of a dying woman trapped inside a container, and the action from the other side of the glass is almost completely obscured. The woman’s suffering seemed so overboard that it reminded me of that poor assistant lady who had a more gruesome death in Jurassic World than its actual villain. It’s a misplaced stylistic touch. A villain takes the drug and turns into a giant CGI troll, like something from 2002’s Chamber of Secrets and is goofy and misplaced. For a movie that is trying to be gritty and somewhat grounded, a giant CGI troll is a blunder. Joost and Schulman are currently attached to write and direct a Mega Man movie next, and I imagine this was a trial run for super-powered androids blasting one another to dust.
The Project Power playbook is pretty familiar and underwhelming in its creativity and development. The concept is there but the movie too often feels content to settle for less, trading in stereotypical heroes, vague villains, and muddled action sequences goosed with flashes of style to mask their lack of personal stakes and imagination. The scope of the movie is too frustratingly myopic and under-developed, like a nascent pilot for a TV series that provides impressions with a latent promise of getting back to storylines later. Except later will never arrive. Project Power (even the name is generic) is a super hero movie that feels like everything you’ve already seen before. It’s far less than super.
Nate’s Grade: C
Take a storied franchise that has long been the backbone of Marvel comics and develop it into a feature film where the last superhero movie was the purple-spandex-in-the-jungle The Phantom and you’re just asking for trouble. A nation of fans is breathing down the neck of the film crew nitpicking every fine detail. Studio execs want the film done as fast as possible and under budget regardless of the numbers of effects needed. Despite what would seem like a cataclysmic set-up, X-Men proves that Hollywood can occasionally take a comic book and get it right. For the most part.
X-Men is basically the pilot for a movie franchise. It sets up characters, conflicts, origins, but periodically forgets its audience. Numerous people are introduced and then given a grocery list sized amount of dialogue to read. Some even have atrocious John Watters-like wigs they are forced to wear. It’s a good thing then that the film centers mainly around Wolverine (Hugh Jackman), Rogue (Anna Paquin) and Magneto (Ian McKellen), the three most interesting characters.
Often times the action in X-Men is surprisingly lackluster and contained. The battle royale finale atop the Statue of Liberty might induce more than a few eye rolls. I can’t help but hope that with all the groundwork laid out with this film that the eventual sequel will be more efficient with its action set pieces.
For the most part the dialogue in X-Men is passable and it even has a few rally snazzy sound bites. However, there is that ONE line delivered by Ms. Berry (“You know what happens when a toad gets struck by lightening? The same thing that happens to everything else.”) that is groan-worthy and destined to be notorious.
It may sound like I’m coming down hard on X-Men, but for a comic adaptation it got a whole hell lot more right than wrong. I want to congratulate director Bryan Singer (The Usual Suspects) for the amount of pressure he had looming over his head and what he pulled through with. X-Men is no campy nipple-plate festival but an attempt at possibly serious drama with tortured characters. The whole mutant/racism metaphor may be a little bludgeoned at times but for the most part is handled very well. The best aspect X-Men has is its patience. The film is in no rush and takes its time even if it is only like an hour and 40-some minutes. Still, it’s a welcome change in the summer action.
Singer’s direction is smooth and well executed. The casting of the movie is near perfection with some minor exceptions. Stewart and McKellen were born to play their dueling think tank leaders. Jackman is an exciting breakout in a role that was supposed to be occupied by Dougray Scott (thank you MI:-2 delays). I look forward to more from this actor. And does anyone know when young Oscar recipient Anna Paquin became so attractive? Someone buy this casting director a fine steak dinner.
X-Men may have its flaws, one of which is an absolute mundane score, but the film is one of the better summer entries into the world of explosions and noise. I just hope the sequel(s) will be a tad better.
Nate’s Grade: B
WRITER REFLECTIONS 20 YEARS LATER
It’s hard not to understate just how eventful the first X-Men movie was back in 2000. Beforehand, the public’s conception of super heroes was that they were kids’ stuff, fed by recent duds like Batman and Robin and Steel. Then came X-Men and it changed everything. There wouldn’t be a Spider-Man without X-Men. There wouldn’t be a Marvel Cinematic Universe (MCU), arguably the defining cultural franchise of the twenty-first century, without X-Men. It was an immediate hit with audiences and would go onto spawn two sequels, four prequels, three direct spinoffs, and two indirect spinoffs (Deadpool) over the course of 19 years. It’s a franchise that has made over $6 billion dollars worldwide and will soon be intermingled into that MCU, re-imagined with new actors filling out the famous names for the first time in decades. I can recall the importance of the X-Men in my own maturation and love of comics. I grew up adoring the animated series in the early 90s, and this began my relationship with the Marvel universe. I have boxes filled with old comics and I even started one of my own in my junior high school years (it’s unfinished and about 160 pages). I fondly recall seeing X-Men opening weekend with my pal Kevin Lowe and both of us just being relieved. A big studio had done it justice. They got it right.
Twenty years later, one must remember how different X-Men was with the super hero landscape. The more grounded, more political, and more reverent take on splash pages and spandex was in direct contrast with the cheesier, dumber, and more slapstick-heavy comics movies. Sure, you’d have your occasional hit like Blade, but the vampire genre inoculated it from larger scrutiny as a “comic book venture.” Director Bryan Singer wanted to make a brooding, serious version of the X-Men, a fact bolstered by his opening a summer super hero blockbuster with a Holocaust flashback. The mutant metaphor inherent in the X-universe has always lent itself to broad social commentary, easy to apply to any disadvantaged and targeted group for simply being different. It had men and women, and aliens and robots and more, doing amazing feats of derring-do, but it also featured these same characters fighting for equality with a public that increasingly feared and despised them for their gifts. Singer recognized this greater political allegorical relevancy and wanted his foray into blockbusters to be more meaningful than another disposable punch-em-up to consume mass quantities of popcorn. The X-Men franchise might not have ever been as successful without Singer’s early vision, and of course, many years later upon its demise, the producers might wish differently given the director’s righteous career reckoning.
But let’s talk about the movie first before we get into the controversy of the man in the director’s chair. I haven’t watched the original really since the superior X-2 came out in 2003, and I was amazed at how patient and assured the movie plays. For a super hero action movie, there really isn’t that much action until the final act. There are confrontations and what I would call “action beats” but nothing lasting longer than a minute in conflict. In its place is a patient movie that takes its time to establish its world, its ideological counterpoints, and its characters and their relationships. We have two entry point characters with Wolverine (High Jackman) and Rogue (Anna Paquin) being hunted and taken in by Charles Xavier (Patrick Stewart). Even though the final movie is barely longer than 100 minutes, it doesn’t feel rushed in its pacing. It has a lot to do in establishing a new world but by grounding it with a scared runaway and a lonely drifter followed by trouble, the movie taps into Western archetypes to act as a helpful surrogate guideline. Fortunately, screenwriter David Hayter (and un-credited writers Ed Solomon, John Logan, Christopher McQuarrie and a heavily rewritten Joss Whedon) anchors us with the most interesting characters who have the most to fear and rebel. Wolverine and Rogue are an excellent pair and Jackman and Paquin have a real nurturing onscreen connection that provides an emotional investment. By taking its time to set up characters and their internal conflicts, X-Men makes a wide audience care about what’s to come.
When it does transition to action, you can see the beginnings of something great tempered with the growing pains of staking out new territory. The special effects are still relatively good, especially Rogue’s life-draining powers on the human body. That’s another thing the screenplay does well is finding ways to demonstrate and then incorporate every mutant’s special ability. We learn about Wolverine’s metallic claws through him being antagonized, and his healing ability from going headfirst through a windshield after Rogue admonishes him about wearing his seat belt. Later Rogue uses her powers to tap in Wolverine’s healing ability to save herself, setting up the Act Three climax where she is the key to Magneto’s (Ian McKellen) evolutionary-charged scheme. One more note on that (I apologize for the deluge of digressions) because Magneto’s big evil scheme is really about empathy. He plots to turn the world’s leaders into fellow mutants so they can understand the plight of a subjugated minority class, and yes, sure, some of them will not survive the genetic re-calibration, like the prejudiced firebrand Senator Kelly (Bruce Davison), but it’s not like Magneto wants them all dead. He wants them to understand (at least until the next sequel where he welcomes an opportunity to kill all non-mutant humans). Thanks to Singer, the movie has plenty of dynamic visual compositions and a few wow-moments to pack a trailer. I was reminded what an excellent visual artist Singer can be as he stages his scenes. The placement of figures, the depth of focus, the fluidity of his camera movements. He was certainly one indie darling ready for a bigger stage, at least in an artistic sense and not necessarily a personal one.
It’s impossible to think of any other actor than Jackman as Wolverine but it almost never happened. Dougray Scott was in place but because of Mission: Impossible 2 delays which themselves were previously affected by Eyes Wide Shut delays, the role had to be recast already weeks into filming. Jackman entered the picture per a suggestion from Russell Crowe, to our collective pop-culture elation. Jackman is rugged, rebellious, funny, gruff, secretly warm-hearted yet clearly still the enjoyable F-You anti-hero, and watching him inhabit what, in comics lore, was a short, stout, hairy Canadian grump is a reminder that you can still recognize star-making performances when you see them. He fully inhabits the character and brings him to startling life. Jackman would become indispensable to the X-Men franchise and earn three spinoff movies, culminating in 2017’s R-rated and Oscar-nominated neo-Western, Logan. It’s only a matter of time before the MCU reboots this character because he, like Batman, is simply too valuable an IP to keep on the sidelines. It feels like heresy to consider another actor in this role, much like it will if anyone other than Robert Downey Jr. steps into the role of Tony Stark/Iron Man. This is a role defined by its signature actor where possible early choices now seem offensively wrong (like Tom Selleck as Indiana Jones, or Christopher Walken as Harrison Ford, or John Travolta as Forrest Gump).
The ensemble was extremely well cast with Oscar-winners and nominees past (Paquin, McKellen) and future (Halle Berry, Jackman). Stewart (Star Trek: The Next Generation) was born to play Professor X, enough so that when he first viewed X-Men comics he said, “What am I doing on this cover?” McKellen brings a gravitas to his villainous role as well as a smirky flair that makes him hard to hate. He had his shooting schedule re-arranged to accommodate the Lord of the Rings shoot in early 2000. Most people can only hope for one generational, pop-culture defining role, and McKellen had two after the age of 60. Paquin was making her transition from child-actor to adult, which was further solidified with HBO’s bloody and steamy vampire series, True Blood. Marsden was filling out his fledgling leading man potential, though he’s always been more appealing to me as a charming comedic actor (27 Dresses, Enchanted). Supermodel Rebecca Romijn (Femme Fatale) made a favorable impression as the shape-shifting Mystique thanks to low expectations and a costume made of 100 scales covering her nearly nude body that took nine hours to apply. The only real miss for me was Berry (Monster’s Ball) because I always envisioned Angela Basset (Black Panther) as my Storm. This is also the only X-Men where Berry adopts her character’s Kenyan accent.
Looking back over 19 years of movies, the wonky timelines of the X-Men world begin to break apart if given even cursory contemplation. Given what happens in the prequels set in the 1970s and 80s, including Apocalypse (Oscar Isaac) launching all of the world’s nuclear missiles, it certainly seems like the worldwide perception of mutants would be more pronounced. Then there’s characters being alive, like Mystique, when she dies in the 1990s in the last X-Men film, 2019’s Dark Phoenix. The back-story of Jean Grey (first Famke Janssen, later Sophie Turner) and her Phoenix powers got two big screen showcases that also happen to be two of the worst movies. The biggest issue was the prequels arbitrarily following a movie-a-decade model, hopping from the Cuban Missile Crisis in 2011’s X-Men: First Class to the 1990s three films later. That means that somehow within less than ten years that Michael Fassbender (12 Years a Slave) and James McAvoy (Split) were going to resemble old men McKellen and Stewart. Do they get exposed to radiation? The conclusion of X-Men: Days of Future Past was meant to rewrite the timeline miscues, erasing the bad X-Men movies at that point from existence (2006’s Last Stand and 2009’s first solo Wolverine). Instead, the producers then followed with two more of the worst films of the franchise. You tried.
And now it’s time we discuss the controversy that has followed Singer for decades from film set to film set. There have been uncomfortable rumors and allegations that have surfaced ever since 1998’s Apt Pupil when Singer filmed a high school shower scene and insisted two underage actors be physically naked during the onset filming. Seems pretty questionable, right? This was eventually settled out of court, as were other allegations of abuse. According to a revealing Hollywood Reporter article, the teen who played Pyro, Alex Burton, was personally flown from L.A. to the Toronto X-Men set. This is quite bizarre considering he doesn’t have any lines and the part is a glorified cameo. Burton said he was held hostage by Singer and his wealthy friends for months and was repeatedly raped. Singer has been out as a gay man in Hollywood early into his career, and he would host regular all-male parties that reportedly descended into lurid bacchanals. Ironically, his status as a prominent and out gay director in the industry might have afforded him an aura of perceived protection, the idea that any journalist snooping too closely would be accused of homophobia or a double standard. It wasn’t just Singer but also the company he kept. Several associates of Singer have been accused of sexual abuse and against underage men that have led to undisclosed settlements.
These allegations of abuse continued when Singer rejoined the X-universe again in 2014’s Days of Future Past but he weathered it out, and then again during the filming of 2018’s Bohemian Rhapsody, and this time he wouldn’t be able to weather it out. He was fired with a month left to film and Dexter Fletcher (Rocketman) was brought onboard to finish directing the eventual Oscar-winning and shockingly successful Queen blockbuster (nobody seemed to cite Singer by name in their acceptance speeches). Singer also built a reputation of showing up to his sets extremely late, sometimes impaired, and for sudden and unknown disappearances. It’s amazing that with all of this chronic misbehavior he was still getting big studio offers, but the man kept producing hits, including the long-running TV show House, and so his shady behavior was overlooked until, finally, it wouldn’t be in a post-Me Too world. Even after he was attached for a Red Sonja remake for a time until another round of accusations made him too radioactive for the time being. I would not be surprised if in a few years some production company happily offers him another project. Singer seems like a new test subject as far as what can be forgiven for the hitmakers.
So, what do we as viewers do with this damning profile of Singer? It’s become a regular habit now of re-examining an artist’s legacy in light of new or old allegations of wrongdoing. I personally have no interest in ever listening to a Bill Cosby comedy album again or watching any of his many heralded TV shows. I feel different listening to Michael Jackson’s music now. I wince when I watch Kevin Spacey in performances now and try to only see the character instead (Spacey won his first Oscar for 1995’s Usual Suspects, directed by… Bryan Singer). Can you watch the early X-Men films, or the later sequels, and still enjoy them knowing that Singer has been repeatedly accused of sexual misconduct including against minors? I have no answer. This is a deeply personal call for every person. I have too much personal attachment to 1999’s American Beauty to cast it aside, and that’s a movie that prominently features Spacey lusting after an underage girl. I’ll never look at the film the same but I cannot discard the whole. X-Men might mean too much to too many to disregard as well.
Looking back on my original review in 2000, I’m genuinely a little stunned because it’s almost word-for-word my assessment upon re-watching in 2020. It does feel more like a pilot to a franchise, laying the groundwork for the world and character relationships. The action is surprisingly contained. The “toad struck by lightning” dialogue line did become notorious. The casting was marvelous. The score was weak, greatly improved by the addition of John Ottman as editor and composer in the sequel (that Nightcrawler assassination attempt scene is a matserclass of editing and shot design). I even note the patience. I even think my original grade is fair. The original X-Men is a perfectly good movie but it led the way for great movies to come.
Re-View Grade: B
Spider-Man: Far From Home arrives as the tasty dessert to the epic five-course meal that was Avengers: Endgame. It picks up weeks after the events of the climactic chapter, starting right away with the consequences in a clever, albeit light manner. Peter Parker (Tom Holland) is excited to go on a class trip to Europe and has big plans to confess his true feelings to his crush, MJ (Zendaya). He’s pulled into hero work by a testy Nick Fury (Samuel L. Jackson) who needs Spider-Man to stop a group of inter-dimensional elemental monsters. Quentin Beck (Jake Gyllenhaal), dubbed “Mysterio” by the Italian media, is the last survivor of that other dimension and looking for assistance to thwart them and save this Earth. Peter tries to live a “normal life” and balance his superhero duties, but his secret life is increasingly intruding upon his actual life, especially as the world looks for the next superhero to step up in the absence of Tony Stark. Far From Home is an enjoyable road trip movie that feels like Junior Spy Hijinks for the first half. It’s funny but I definitely felt like the filmmakers weren’t fully engaged in telling that story, so I was left a tad disengaged. There’s a big reason for this and it’s a turn that comes halfway through, and from there out the movie is mostly great. The action sequences are directed with flair and even better visual acuity by returning director John Watts (Cop Car), there are some vivid nightmarish hallucinations that are glorious and disorientating. Gyllenhaal (Nightcralwer) becomes much more interesting in the second half and makes better use of the actor’s comic and dramatic range. It almost feels like some of the staid back-story from the first half is a satirical point of the second half, but you have to get through it all first. This bait-and-switch storytelling structure leads to certain pluses and minuses, and had it gone on much longer it would have more negatively affected the overall enjoyment factor. The first post-credit scene is definitely a game-changer in the world of Spider-Man and has a fantastic character debut that made me cheer and will be big especially for fans of the recent hit PS4 game. Far From Home doesn’t have the polish and brilliant structure of 2017’s Spider-Man: Homecoming but it’s a Spidey sequel that doesn’t lose track of the characters, presents an interesting villain as something we haven’t quite seen before, and has a good sense of humor while still being able to thrill and chill. The MCU is in a different world now after Endgame and with Holland and company leading the way, I could use more of this Spider-Man pronto.
Nate’s Grade: B
Dark Phoenix is the end of the X-Men as we know it. The franchise is arguably the reason that Disney bought Fox, to combine its Marvel properties under one creative universe, and hastened its ultimate demise. The franchise kicked off in 2000 when nobody knew what a Hugh Jackman was. Over the course of 19 years we’ve had ten total X-films (the original trilogy, four prequels, three Wolverine solo films — I’m not counting the two Deadpool entries) of varying quality. Dark Phoenix is longtime series writer Simon Kinberg’s debut as a director and was originally intended for a fall 2018 release before it got pushed back for extensive reshoots. There was even some doubt whether Disney would release Dark Phoenix or shunt it to its new streaming service (that’s my prediction for the long-delayed New Mutants, which released its trailer… in 2017). Ultimately this is the final X-Men movie, as we have known them for 19 years, and it’s the equivalent of a mayonnaise sandwich at room temperature: something nobody really wanted and delivered in a package not designed to satisfy.
In 1992, the X-Men are called upon by the president when the government is left with no other options. Charles Xavier (James McAvoy) watches over as shape-shifting Mystique/Raven (Jennifer Lawrence) leads the younger X-kids, Cyclops (Tye Sheridan) and Jean Grey (Sophie Turner) and Nightcrawler (Kodi Smit-McPhee) and Storm (Alexandra Shipp), into space to save some astronauts. A strange cosmic energy cloud zaps Jean Grey and supercharges her telekinetic powers. At first she feels more alive but is losing control and worrying her friends. After a tragic confrontation, she runs off to find Magneto (Michael Fassbender) while a mysterious alien woman (Jessica Chastain) seeks to gain the “phoenix” powers.
Thoroughly mediocre, Dark Phoenix is a pitiful ending to a franchise that kicked off the superhero era of the twenty-first century. This is a pretty sad ending to a franchise that has admittedly had more downs than ups (I’d say four of the ten X-Men movies have genuinely been good, two were fine, and four have been different levels of bad). What’s even more peculiar is this is Kinberg’s second attempt at the Dark Phoenix storyline, arguably the most famous in X-Men comics, and it doesn’t work — again. At least 2006’s The Last Stand had other storylines that presented topics of interest, like the choice over taking a mutant cure and whether this should be a choice after all. The problem with Dark Phoenix is that it’s nothing but Dark Phoenix with little variation but it doesn’t ever expand on the Dark Phoenix dilemma. Act Two of the film seems to consist of the same scene on repeat, where Jean Grey complains about her power struggles to some character, warns them, doesn’t want to harm people, and then something bad happens and more characters elect to try and murder her. It’s like watching the same TV show recycle the same plot but just changing the characters. It makes for a saggy mid section that loses momentum and cannot regain it. The last act feels like a different movie because… it is. Thanks to late reshoots, the final act is a series of clashes aboard a military train. There are some fun moments of mutant-power action, especially Magneto and Nightcrawler. It doesn’t make much sense to what came before (when questioned why Magneto is trying to save Jean after literally trying to kill her ten minutes earlier, he says, “I had a change of heart”) but the sequence is at least diverting and visually playful in a way the rest of the movie had been missing. By the end of the film, much of it feels rushed and little feels earned, especially the time you’ve spent watching it.
I’m going to declare that the villains in Dark Phoenix are actually the worst in the entire universe of X-Men movies. They’re aliens adopting human form and they talk… so… slowly… and in unshakable monotone. They’re an alien species that wants the powers of the super space cloud. That’s it. That’s all you get. I have no idea what attracted Jessica Chastain (Molly’s Game) to this role and almost feel like it must have changed at some point. She walks around in a zombie-like daze with a giant platinum blonde wig that makes her look like an albino. At no point are any of these aliens interesting. At no point do they present personalities. At no point does their overall powers become clear. They seem invulnerable to anything, except when the script needs them not to be, and their vaguely defined powers seem limitless. Because of the creative choices with Jean Grey and how she developed her Dark Phoenix powers, extra emphasis is placed on the villains to carry the burden, and they could be eliminated entirely and not be missed in the slightest. It’s genuinely hilarious to watch them walk so stiltedly and then break into a run. The best thing Chastain does is strut in stilettos while taking a dozen blasting firearms to the face.
There are just some weird moments in this movie. Apparently Charles Xavier watches the students have their beer blasts in the woods and also keeps a thermal heat analysis of them during these moments (“That student’s really hot… I mean… getting really hot…, uh…”). That’s so weird and possibly perverted. There’s a running clothing item with blood that never gets changed. You’ll listen to “whose blood is that?” close to ten times. It’s always been inherently goofy watching these trained actors make silly strained faces while pretending to do things with their mind powers. Except this movie it goes a step further. There’s a moment of goofy strain face versus goofy strain face while the actors thrust their arms out, and there’s a scene where Jean Grey only has one arm out and then, to power up, she throws out her second arm. That’s not how mind powers work. There are several character jumps that seem rushed and unearned, like Charles becoming a focal point of disdain amongst his fellow X-people over his catering to public relations. Everyone is so quick to jump on the murder wagon when it comes to Jean Grey, which makes me wonder if they never really liked her and have just been waiting for a good excuse to kill her. The seesawing public support on mutants can be extremely confusing. The action sequences are filmed in a very haphazard way with replenishing bad guys to be disposed. During key stretches of the movie, I didn’t know who was on screen, where they had come from, and what relations they were to one another until punches started being thrown.
Continuity has never been a thing the X-universe cherished, especially once you started throwing in time travel with 2014’s Days of Future Past. However, Dark Phoenix complicates matters with its disregard for the overall continuity. Firstly, I am not a fan of the idea that these prequel films all take place in separate decades. It worked with First Class which tied the cultural revolutions and changing mores to the characters and their selfI identity, plus the Cold War paranoia. It even worked for Days of Future Past being set in the early 70s, during the malaise of the optimism of the 1960s. That related to the character arc for Raven on her quest for vengeance and the individual versus society. But what did Apocalypse have to gain by taking place in 1983? What does Dark Phoenix gain by taking place in 1992? Plus it means that these characters have hardly aged in 30 years and in less than a decade James McAvoy and Michael Fassbender are going to look like Patrick Stewart and Ian McKellen (no offense to McKellen, but that’s quite a sudden, precipitous drop). Let’s even say the older movies are eliminated from the timeline after the reboot of Days of Future Past. Just in the LAST movie they established that Jean Grey had the powerful phoenix spirit and abilities within her, as it was the final push to topple the bad guy.
Allow me to get into more detail why this disregard is so troublesome and erroneous. Judging from the trailers and marketing, I thought Dark Phoenix was going to be an addiction metaphor, with Jean Grey embracing a self-destructive thrill that made her feel good even as it pushed others away and forced her down a darker path. Despite the ads emphasizing this aspect, the actual movie ignores this addiction metaphor for a cosmic illness she contracts. Kinberg and the filmmakers have dropped that Jean Grey had this power within her and have made her a victim of an external force from space. This is far less interesting because it makes the story of Jean as reactive from external forces taking over. Space clouds resembling a pink Parallax (the poop cloud monster from 2011’s Green Lantern) did it all. That’s boring.
Think of the stronger version already within reach that examined the power within her that Charles has been keeping limited thanks to withholding her memories of her parent’s deadly accident. Because she was denied this essential part of her past she was never able to process her trauma and work through it. The man she trusted, the father figure telling her how to best control her feelings and powers has been inhibiting her the whole time and manipulating her. That betrayal could reignite the power already within her, and her journey would be about self-discovery while also confronting the gaslighting by those she trusted. You could even go further and have Charles eventually revealed as a villain for psychically altering people’s memories and minds to his ideal of what is right. That’s the better movie. They might as well have gone all-out and ended with the destruction of the Earth and the death of everybody we know because why not? What we get with Dark Phoenix is a woman who glows a lot thanks to an inscrutable pink space cloud.
It’s hard for these talented actors to hide their disinterest; some have been eyeing the exits since the last film. I challenge every reader to look at the painting of Chastain’s face on the very poster, which to me reads loudly, “Let’s just get this thing done with.” Turner (HBO’s Game of Thrones) is the best thing in the movie and yet the screenplay doesn’t give her an actual character arc with depth. It feels like she has three or four stages in the movie where Kinberg just asks her to repeat the same note over and over. Many of the actors that have been here since 2011’s First Class feel like they’re on autopilot. It’s simply another level of mediocrity that ends up defining this disappointing movie.
If you asked writer/director Simon Kinberg, in private so he could be truly honest, whether he would have repeated what happens in Dark Phoenix as the very last X-Men movie, and I legitimately think he would say no. That’s the problem with the movie is that it’s a double dip that, surprisingly, doesn’t get better. The story is boring and repetitive, the action is bland, the characters are at the mercy of a story that has no interest in them, and the resolution does not provide any satisfying finality. It feels like the close of a weekly television episode that knows more is to come except it’s been cancelled. The X-Men movies have been at their best when they’ve been about something, when they’ve gone inside their characters and the conflicts of living in a society of oppression and prejudice and fear. The franchise lends itself to being more than spandex-clad superheroes fighting each other. The division between the good X-Men movies and the bad X-Men movies is wide and clear; nobody is going to put Logan and Apocalypse in the same grade. It’s easy to tell when the plots connect to character and have exciting themes to go with their exciting action sequences. Coming to a shrug-worthy series conclusion, I think I’d rather rewatch The Last Stand than the second go-round of the Phoenix saga. The X-Men ultimately go out with a whimper but that doesn’t take away from the greatness of the other films. It’s been nearly two decades, and I’m grateful for the ride, but it’s a shame it had to end this way.
Nate’s Grade: C-
Many writers and artists have re-imagined the origin of Superman, the alien orphan sent to Earth and raised by the Kents into a thoughtful young man who empathizes with the humans he has come to identify with. What if that alien child, blessed with powerful abilities, didn’t decide to become a hero and instead saw himself as superior? That’s the premise of Brightburn which looks at the Man of Steel through the lens of The Omen.
In the small Midwestern town of Brightburn, Tori (Elizabeth Banks) and Kyle Breyer (David Denman) are a couple struggling to conceive, and then one fateful night a spaceship crash lands on their farm. Inside is a baby boy they decide to raise as their own son. Flash ahead a decade and Brandon Breyer (Jackson A. Dunn) is a normal kid except he’s never been sick, he cannot be cut, and he’s starting to develop even more powers thanks to his spaceship seeming to activate something within him. It also fills his head with an alien message, one not too friendly for the people of Earth. Tori and Kyle must reconcile how far they’re willing to go to protect their son and whether it’s at the expense of the well-being of billions.
Brightburn takes its thought exercise to the limit, fully developing its intriguing angle of what if the story of Superman went in a much darker, much bleaker direction. Instead of representing a hope for mankind, what if this alien son represented its demise? As I was sitting back and watching, each element felt well placed and well thought out, contributing to a feeling of satisfaction that the screenwriters have given considerable thought to telling not just a good story but the best version of their story. There’s a very early science reference to wasps that tells you exactly where the film is going. I have some small quibbles when it comes to motivations, in particular the flip in Brandon, but these are minor and honestly could have been smoothed out with one or two added scenes. I appreciate that writers Brian Gunn and Mark Gunn (cousins to James) start things rather dark and see it through. This is the kind of movie you pray doesn’t go soft and squishy by the end, where the irredeemable monster is reached through the power of love. This is not that movie. With an all-powerful monster, it would be a cop-out to somehow slide in a happy ending. The entire trajectory of the movie feels appropriate, quibbles over rushed motivation aside, and where we end up feels predictable but right.
The biggest comparison I can make with the film isn’t any of the Superman adventures but a little indie, 2011’s powerful character study, We Need to Talk About Kevin. For those unaware, that movie followed a woman whose son grows up to be a school shooter who also kills her husband and daughter. The movie skips around in time and in doing so reveals through flashes of memory key incidents, flashpoints, where mom realizes something just isn’t right with her dear old son. It’s a test of a parent’s love but it’s also a test of how far a parent can ignore the warning signs that are amassing like a cancer. Like that film, Brightburn demonstrates the limits of parental love and rationalization. For much of the movie, Tori refuses to accept her son’s darker impulses and the reality that is getting harder to ignore. Her son was a gift from the sky and that needs to mean something. Her love and parenting should be enough to keep her child on the path of good and responsibility, she reasons. This only delays the intervention that might have made a difference, but then again, when you’re dealing with a kid with invulnerability and laser eyes, is there any intervention to turn things around? Are some too far gone? There are moments that even touch upon the creepy loner status of deranged spree killers. I genuinely felt sorry this one teenage girl ever showed a glint of kindness to Brandon because all it does is place her and her family into his obsessive fixation to control.
I do believe that your enjoyment of Brightburn will partly rest on your prior knowledge of the Superman mythos and its clever, darker reworking. Considering this is an essential aspect of its premise and execution, I don’t see this as a fault, though it will limit the audience that can simply plug into Brightburn and enjoy it as is. The film leans heavily on the iconography of Superman and purposely twists it as a perverse thought experiment. If you’re indifferent or unfamiliar with Superman, it may play out as an efficient thriller with some solid acting and gross-out effects. However, if you’re a canny follower of the Superman origins, then it becomes a meta commentary with even more to unpack. How does one exactly keep a god grounded in the ways of morality? I don’t mean to make it seem like Brightburn is inaccessible to non-comic book fans. It’s not, but part of the enjoyment for me was how it took something familiar and twisted anew.
Those gore effects are impressively gross. This is a movie that doesn’t shy away from the destructive power of its super demon seed. It builds in intensity and is actually pretty restrained, all things considered, but when it wants to pack a punch, the movie does. There was one extended bit of eye trauma that made me shield my face. How in the world can a person have that much glass shard lodged that far into one eyeball? It causes me shudders even thinking back on it. There’s another scene where a person’s jaw is dislodged like they were the Tin Man from The Wizard of Oz, a lanky part that stubbornly won’t stay put. The person even holds their hand over their face, knowingly teasing the audience. As the film hurtles toward its final act, if you can think of a way that Superman could kill a vulnerable mortal, this movie covers it. Super speed splattering a person? Check. Laser eyes boring a hole through a skull? Check. There’s even a scary sense of visual poetry to one kill that goes flying into the heavens in slow motion. The gore and grisly deaths are another aspect that reminds me how well developed the film is.
The acting may be better than you’re anticipating. The screenplay doesn’t simply rely on the main characters being stand-ins for their Superman analogues. While they don’t feel like three-dimensional characters, care has been put to give them more substance so that the drama of their choices can be compelling on its own. Banks (Lego Movie 2) and Denman (16 Hours) debate their increasingly fraught choices with clarity. He’s convinced their son isn’t right and poses a danger, and she doesn’t disagree but refuses to abandon their son after all these years together. Early on, they feel like a real family, and that only makes the tragic events feel much more resonant as things spiral out of control. Banks and Denman are certainly not playing any scene for a knowing wink. To them and the rest of the production the events are very real and very scary. Dunn (Avengers: Endgame) is eerily spooky with his stares and glares, but there are also moments that remind you he is or was still a kid and experiencing the same desire to belong.
This is not going to be a movie for everyone but if you’re intrigued by the premise and/or have an affinity for Superman what if scenarios like Red Son, then it should be right up your alley. It’s a clever and satisfying thriller that appeals to fans with darker desires. It’s about as well executed as its premise could go, and I left my theater thoroughly satisfied with only some minor quibbles for motivation clarity and an extended epilogue (I don’t know if Billie Eilish fits for the end credits but that’s just a personal preference). Brightburn takes the Superman mythos and twists it into a creepy horror film, the origin of a super villain, and an apocalyptic death sentence for the rest of humanity. It’s actually a lot of fun to watch even as it’s disturbing you and leaving you wincing.
Nate’s Grade: B+
This may prove to be the most difficult review I’ve ever written in my twenty years (!) of reviewing movies. How do I ever begin to describe the events of Marvel’s culminating blockbuster Avengers: Endgame without stepping too far into the dark and dangerous territory of the accursed spoilers? I thought it would be difficult talking about last year’s Infinity War considering the shocking plot events and general secrecy, but this concluding chapter to a 22-movie journey is even more secretive (the trailer accounts for only footage roughly from the first twenty minutes). I’ll do my best, dear reader, to give you the clearest impression I can of this unique experience while respecting your need to be un-spoiled. In short, Avengers: Endgame is unparalleled in our history of modern popular blockbusters because it needs to work as a clincher to a decade-plus of hugely popular blockbusters for the Marvel Cinematic Universe (MCU), and boy do they ever stick the landing.
The film picks up with our surviving Avengers picking up the pieces following the events of Infinity War, namely Thanos (Josh Brolin) eliminating half of life throughout the universe. The original six Avengers are all suffering through guilt, depression, and degrees of PTSD following their failure to defeat Thanos. Scott Lang a.k.a. Ant-Man (Paul Rudd) arrives after having spent time in the quantum realm and has a potential solution that will involve traveling through time to correct the mistakes of the past and bring everyone who vanished back to life. The remaining teammates assemble at the behest of Steve Rogers a.k.a. Captain America (Chris Evans), including Bruce Banner a.k.a. Hulk (Mark Ruffalo), Black Widow (Scarlet Johannson), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), Rocket Racoon (voiced by Bradley Cooper), Nebula (Karen Gillan), and War Machine (Don Cheadle). However Tony Stark a.k.a. Iron Man (Robert Downey Jr.) needs the most convincing, as he is most afraid of making things even worse and losing more people he feels are too precious to be casualties to their failures once again.
The thing to know ahead of time is that Endgame is not for the casual fan. This is a long love letter to the fans that have pored over all 22 preceding films, not just a scant one or two. Infinity War was accessible to relative newcomers because of the structure and focus on Thanos as the main character, providing a self-contained arc that lead up to his finger-snapping triumph. It also benefited from the fun factor of simply watching a bunch of popular characters interact and team up for the first time in MCU history. Now that a majority of those characters have turned to dust, the emphasis falls back on the original core of the Avengers, bringing things full circle. In several ways, Endgame is about bringing to a close this mammoth project that began with Iron Man, this decade of storytelling ambition that has stretched out into multiple inter-connected franchises. If you love these characters, then Endgame is a movie made specifically for you. There is a long stretch in Act Two that relies upon a decent amount of fan service and sentimentality, but I don’t think either is an automatically negative attribute. Before we reach the finish line it’s important to take stock of how far we’ve come and this goes for the essential characters and their long arcs. There are several fun cameos strewn throughout and the filmmakers even take an interesting tack of trying to reclaim and re-contextualize the MCU movies that fewer people enjoyed. It makes for a filmgoing experience that is heavy in references, in-jokes, Easter eggs, and cozy nostalgia, which will confuse and frustrate those not well versed in this big world.
The other thing to know, especially if you’re a long-standing fan, is that there will be tears. Oh will there be tears. I lost count of the amount of times I was crying, which was pretty much on and off nonstop for the final twenty minutes. I was even tearing up for supporting characters that I didn’t know I had that kind of emotional attachment for. The film is done so well that the first third actually could play as the MCU equivalent of HBO’s The Leftovers, an undervalued and elegant series about the long-term recovery of those that remain in a post-rapture world. The opening scene involves a character having to go through the loss of loved ones via Thanos’ snap, and it’s brutal as we wait for what we know is coming, dread welling up in the pit of your stomach. The Russo brothers, the returning directing team from Infinity War, know what scenes to play for laughs (the line “That’s America’s ass” had me in stitches), what scenes to play for thrills, what scenes to play for fist-pumping cheers, and what scenes to play for gut-wrenching drama. They allow the movie to be an existential mood piece when it needs to be, actually dwelling on the repercussions of a life post-universe culling. There’s a character who frantically searches to see if a loved one was among the missing, and that eventual reunion had me in tears. With the three-hour running time, the Russos have the luxury of allowing scenes to naturally breathe. This might be the most human many of these characters have ever seemed, and it’s after recovery and grief. Needless to say, the conclusion feels very much fitting but also unabashedly emotional, unafraid of diving deep into its feelings. I sobbed.
I was worried once the film introduced the time travel plot device that everything was simply going to be erased and invalidate the struggles that came before. The worst use of time travel is when it eliminates any urgency or danger, allowing an endless series of do-overs to correct the past. Fortunately, returning screenwriters Christopher Markus and Stephen McFeely (Civil War, Winter Soldier) realize that in order for there to be a reversal, a glint of a happy ending, there must be a cost or else it all meant little to nothing. There are finite events in the movie that cannot change (as of now) and losses that will be permanent (as of now, if they don’t want to cheapen the journey). People died with Infinity War but we all knew, at least when it came to its dreary conclusion, that it wasn’t going to be too long lasting, which allowed the communal grief to be short-lived. After all, there’s a new Spider-Man film coming down the pike two months from now, so it’s highly unlikely the teenage web-head will remain dead. However, with Endgame, the deaths serve as the cost for resurrecting the MCU, and they will be felt for years. The screenplay provides limitations to the time travel mechanics, though I don’t think the collective hand-wave to the nagging paradoxes was as successful as the movie thinks it was. The film barrels ahead, essentially telling you to forget about the paradoxes and enjoy the ride, focusing on the characters and remembering what is really important.
Suffice to say Downey Jr. is once again his charming, self-effacing, and enormously entertaining self. The MCU began with this man and his contributions cannot be overstated. He is the soul of this universe. Evans is compelling as the straight-laced inspirational figure who takes stock of what he’s sacrificed over the years, Hemsworth showcases a potent mixture of comedic and dramatic chops, Johannson is definitely the Avenger going through the “bargaining” phase to try and make things right and she has some subtle emotional moments that belie her desperation and guilt, and Renner makes a welcomed return in a way that made me appreciate Hawkeye like I never had before. Brie Larson does reappear as Captain Marvel but the movie smartly puts her back on the sidelines protecting the many other worlds in the universe needing assistance because of how overwhelmingly powerful she can become. Larson filmed her scenes for Endgame before her own solo movie, released a month prior, so forgive the different hair and makeup, Twitter nit-pickers. I will say there is one scene that is a bit convoluted how it gets there but is destined to make women in the audience cheer with excitement as the MCU says, “Hey, that whole ‘strong female character’ thing? Yeah, we’ve had all that for years, and here you go.”
How does one properly assess a movie like Avengers: Endgame, a conclusion not just to an Infinity War cliffhanger but to a twenty-two movie prelude over the course of eleven years? The emotional investment in these characters, their journeys, has to come to something to be ultimately meaningful when it’s time to close the chapter on one massively ambitious story before starting the next. And there will be a next chapter; the MCU’s unparalleled financial success assures the fanbase they’ll have plenty more high-flying and wild adventures to come in the years, and more than likely, decades to come. Marvel had the unenviable task of wrapping up a major narrative in a way that would prove satisfying without devaluing the individual films and overall time investment. Hollywood is filled with trilogies that messed up their conclusions. Nailing the ending is just as important as getting things going right, because without a satisfying conclusion it can feel like that level of emotional investment was all for naught. Endgame reminds you how much you’ve grown to love these characters, what fun you’ve had, and genuinely how much you’ll miss these characters when they depart for good. It’s hard not to reflect upon your own passage of time with the ensuing eleven years, how you’ve changed and grown from the MCU’s humble beginnings in the summer of 2008. These heroes and anti-heroes can begin to feel like an extended family for many, and so fans desperately need the ending to do them justice. Avengers: Endgame is the ultimate fan experience.
Nate’s Grade: A
It seems like the secret to the success of the DC movie universe is making fun, lower stakes adventures with the characters the public has the least knowledge about. Shazam actually begun as a “Captain Marvel,” and now comes on the heels of the MCU’s Captain Marvel. We follow Billy Batson (Asher Angel), a teenage orphan trying to find his missing mother. He stumbles into a wizard’s realm and is given a special power whereupon he turns into a square-jawed, broad-shouldered superhero (Zachary Levi) by saying “Shazam.” What follows is like a superhero version of Big and it’s goofy, charming, and reminiscent of an 80s Amblin movie, where children’s movies were allowed to be a little creepy and weird. The movie is light, cheerful, and heartfelt with its doling out of family messages to go along with the slapstick and personal growth. It’s very much envisioned from a young boy’s fantasy perspective of being a super-powered adult, where the first things to be done include buying beer, going to a “gentleman’s club,” in between testing out bullet invulnerability and flight. Levi (TV’s Chuck) is excellent at playing an adult version of a kid. I was initially dismissive of his casting but he’s perfect for this part. There’s a satisfying sense of discovery for Shazam and his excitable foster brother (Jack Dylan Grazer) that doesn’t get old. The movie is more concerned with how the superpowers are affecting Billy’s relationships and sense of self than any larger, planet-destroying danger. The film even sets up its villain (Mark Strong) by giving him a decent back-story and opening the movie to explain his crummy family. It’s not a three-dimensional villain by any means but the attention given to make him something more is appreciated. The other foster kids in Billy’s new family are more archetypes but amusing, and their involvement in the final act raises the joy level of the finale. Shazam! is a movie where people are genuinely excited to be superheroes or associated with them, and that gleeful, buoyant revelry is downright infectious.
Nate’s Grade: B+
Wonder Woman may have beaten her to the punch but Carol Danvers, a.k.a. Captain Marvel, deserves her own share of headlines as the first woman to have her own starring vehicle in the highly successful Marvel Cinematic Universe (MCU). Her presence was first teased in the post-credit scene of Infinity War. After twenty-one films, Captain Marvel gets squeezed into the penultimate chapter before closing the book on the MCU as we know it for a decade, and it feels like a throwback in both good and bad ways.
Carol Danvers (Brie Larson), or “Vers” as she’s known on the Kree home planet, is part of an elite alien squad of “noble warrior heroes” fighting in a long-running war against another alien race, the shape-shifting Skrulls. Carol Danvers goes back to her home planet of Earth (a.k.a. Planet C-53) in the 1990s to look for a hidden weapon linked to a mentor she can’t quite remember, a woman (Annette Bening) from her past life on Earth as an Air Force pilot. Carol Danvers must try and recall who she is with the help of Agent Nick Fury (Samuel L. Jackson) and stay one step ahead from the invading Skrulls.
This definitely feels like a lower-to-mid tier Marvel entry, something more akin to the Phase One years (2008-2012) where the initial franchises were just starting to get a sense of direction and personality. They were also lacking the larger depth of character development, social and political messaging, as well as judicious independence from the overall studio formula that has come to define dozens of superhero blockbusters. It’s not a bad movie, and is fairly entertaining throughout its 124-minute run time, but it’s hard not to notice the shortcomings that, frankly, haven’t been this transparent in an MCU movie for some years now. I had to think back on a comparable MCU experience and I had to go back to 2015 with Avengers: Age of Ultron or maybe even 2013’s Thor: The Dark World. In short, Captain Marvel just feels a little less super in many important areas.
This is the first female-lead superhero film in the MCU (sorry Black Widow) and Carol Danvers has been a character in Marvel comics since 1968, and yet the film doesn’t put together a compelling case why she is the one getting her big screen moment. The character suffers that wonderfully tired movie trope of the foggy memory, so we have a protagonist trying to discover who she is alongside the audience. This would be a fine starting point for her to essentially reclaim her humanity and her agency as she travels back to good ole C-53 and learns more about her past. There’s a core of a beginning theme already present there, the nature of what it means to be human, and how it can be viewed as a weakness by n alien species and how it comes to be a strength for her. Maybe that’s too pat but it’s a start. The problem is that Carol Danvers isn’t seen to be that interesting. She’s somewhat boring and the presentation feels a tad inauthentic; when she’s quippy it feels forced, and when she’s badass it feels lethargic. There’s a personal journey that challenges her to assess her preconceived notions of good and evil in an ongoing intergalactic conflict, but it’s so impersonal. Even when she’s revisiting with friends and reminiscing (what she can) it doesn’t feel like we’re getting that much more insight than we had before. She’s a warrior. She’s upstanding. She definitely doesn’t like men telling her what she can and cannot do. But what else do we know besides her increasingly invincible super powers? What is most important to her that drives her? What are her flaws other than a faulty memory? When she goes full super saiyan it should be celebratory and joyous and instead it feels more weirdly perfunctory.
I love Larson as an actress and have been singing her praises for dramas (Room, Short Term 12) and comedies (21 Jump Street, Scott Pilgrim) for years, and I kept waiting and waiting to be wowed by her in this role. I was left unfulfilled. Larson is a terrific actress and can be so expressive, resolute, heartbreaking, and inspiring, and I grew frustrated as the movie kept her talents buttoned up for too long. She seems too removed from the action even as it’s happening in the moment. It’s not that she’s too serious (“smile more” chime the denizens of cretinous “men’s rights activists”) because her character should be serious. It’s that she hasn’t been given enough depth and interest a hero deserves.
Jackson (Glass) and Mendelsohn (Ready Player One) were my favorite parts of the movie. Watching a 40-something Jackson front and center looking like he was ripped out from 90s cinema is remarkable. The movie is at its best when Jackson and Larson are working their 90s buddy cop chemistry together. There’s a fun running joke about how Fury loses his eye with some near-misses played for comedy (reminiscent of Crispin Glover’s eventual armless bellhop in Hot Tub Time Machine) and while the film does a disservice to Carol Danvers’ character it opens up Fury even more as a person. Mendelsohn has become a go-to villain for Hollywood and the filmmakers use this to their advantage. He slinks around having a good time being bad, but there’s also a surprising turn that provides unexpected pathos and depth to what could have been a one-note scary-looking bad guy. In a movie that deserves headlines for being the first female-lead MCU entry, the supporting dudes end up having the most depth and success, which is rather odd.
Captain Marvel is missing a larger sense of vision and purpose, which is why it feels more like a throwback to those early days. Directing/co-witting husband-and-wife team Anna Bodin and Ryan Fleck (Half Nelson, Mississippi Grind) don’t manage to have a feel for the material and for action as a whole. There are some pretty-looking sequences and some moments that strike their intended effect well, but the structure of their movie could use a bit of an overhaul. The first act, the pre-Earth return, is a bit convoluted and could be condensed. This even goes for the Kree Special Forces team (Kree Team Six?), which comprise many differentiated soldiers when really three non-Jude Law members would suffice. The Kree characters are stranded for the middle act and when they come back it’s hard not to feel disinterest. The concluding act brings the various plotlines together better with some good twists I did not see coming and appreciated. However, the climax is missing out on its triumphant jubilation because of the spotty characterization and the haphazard action direction. From the start, the action is unimpressive and poorly choreographed and edited. The chases are humdrum and the special effects are surprisingly substandard at too many turns. It’s hard to tell what’s happening in many fight scenes, and once Carol Danvers gets her full super laser-blasting powers, the screen becomes even more obstructed and even harder to decipher. Bodin and Fleck have showcased a natural feel for visual storytelling but action appears beyond their grasp for now.
Captain Marvel suffers from being asked to do too much, slap together an origin tale for the last essential character for the conclusion to a larger multi-movie storyline, also forging the beginning of the MCU timeline as a prequel for Fury and S.H.I.E.L.D, as well as some connective back-story with the Guardians universe. It has to do a lot of heavy lifting in two hours that the screenplay and characterization do not seem best equipped to handle. The humor is a bit dull and unsure of itself, relying upon certain beats one too may times, notably a cute orange cat tagging along. Even the 90s setting feels like something tacked on for easy jokes about dial-up Internet and references to Radio Shack. It feels like simple nostalgia and that goes to the soundtrack selections as well. This must have been the easiest job the music supervisor ever had for a film, having to do a mere cursory scan of 90s alternative rock for the hits. An action sequence set to No Doubt’s “Just a Girl” should have more attitude than it does. A dream/trance sequence set to Nirvana’s “Come As You Are” should be creepier and more unsettling. By the end, as the credits flash onscreen set to the guitar chords of Hole’s “Celebrity Skin,” I felt certifiable 90s fatigue.
I feel like I’m piling on Captain Marvel with complaints and quibbles and presenting the impression that it’s a bad or dimly entertaining film. It’s not a bad experience but it definitely has its share of flaws that hinder the enjoyment factor. As a white guy in his thirties, Hollywood has been making movies tailor-made for me as their default setting. I cannot underestimate the cultural and personal impact this will have for millions of women and young girls who have been eagerly waiting for a big-budget movie with a strong female protagonist front and center. Wonder Woman was a cultural and commercial touchstone that might diminish the luster of Captain Marvel for some, but the MCU is its own unparalleled zeitgeist. Having a woman carry a movie in this special high-profile film universe will mean considerably much to many. I wish it was a better movie, but even lower-tier Marvel is still better than plenty, and that may be enough. I’ll look forward to see how other screenwriters and filmmakers make use of the character in the ensuing Avengers sequel coming out next month. I’ll reserve my final judgment on the character after I see how she fits into the larger picture and with storytelling talents that have shown more aptitude toward the super stuff.
Nate’s Grade: B-
M. Night Shyamalan has had a wildly fluctuating career, but after 2017’s killer hit Split he’s officially back on the upswing and the Shyamalan bandwagon is ready for more transplants. At the very end of Split it was revealed it had secretly existed in the same universe as Unbreakable, Shyamalan’s so-so 2000 movie about real-life superheroes. Fans of the original got excited and Shyamalan stated his next film was a direct sequel. Glass is the long-anticipated follow-up and many critics have met it with a chilly response. Shyamalan’s comeback is still cruising, and while Glass might not be as audacious and creepy clever as Split it’s still entertaining throughout its two-hour-plus run time.
It’s been 18 years since David Dunn (Bruce Willis) discovered his special abilities thanks to the brilliant but criminally insane Elijah Price (Samuel L. Jackson), a.k.a. “Mr. Glass.” David has been going on “walks” from his security day job to right wrongs as “The Overseer,” the rain slicker-wearing man who is incapable of being harmed (exception: water). He looks to stop David Wendell Crumb (James McAvoy), a.k.a. The Horde, a disturbed man inhabited by over dozens of personalities. David Dunn and Kevin are captured and placed in the same mental health facility as Elijah. The three are under the care of Dr. Ellie Staple (Sarah Paulson) who specializes in a specific form of mental illness with those who believe to be superheroes. She has only so many days to break through to these dangerous men or else more extreme and irrevocable measures might be taken.
Shyamalan has a lot on his mind and spends much of the second half exploring the classical ideas of superheroes via Dr. Staple and her unorthodox therapy treatments. She’s trying to convince each man they are simply wounded individuals and not superior beings blessed with superior powers. Because the audience already knows the fantastic truth, I’m glad Shyamalan doesn’t belabor this angle and make the crux of the movie about her convincing them otherwise. The second act is something of a sleeping predator, much like the wheelchair-bound, brittle-bone Elijah Price. You’re waiting for the larger scheme to take shape and the snap of the surprise, and Shyamalan throws out plenty of red herrings to keep you guessing (I’ve never been more glad that convenient news footage of a new skyscraper opening meant absolutely nothing for the final act setting). Part of the enjoyment is watching the characters interact together and play off one another. The conversations are engaging and the actors are uniformly good, so even these “slow parts” are interesting to watch.
It’s fun to watch both Willis and Jackson to slip right into these old characters and conflicts, but it’s really McAvoy’s movie once more, to our immense benefit. Between a ho-hum character who has accepted his ho-hum city guardian role, and an intellectual elite playing possum, the narrative needs Kevin Wendell Crumb/The Horde to do its heavy lifting. McAvoy is phenomenal again and seamlessly transitions from one personality to another, aided by Dr. Staple’s magic personality-switching light machine. The command that McAvoy has and range he establishes for each character is impressive. He reserves different postures, different expressions, and different muscles for the different personas. I was genuinely surprised how significant Ana Taylor-Joy (Thoroughbreds) was as the returning character Casey, the heroine that escaped Kevin’s imprisonment in Split. She’s concerned for the well being of Kevin, the original personality who splintered into many as a means of protection from his mother’s horrifying abuse. I was worried the movie was setting her up to be a disciple of Kevin’s, looking to break him out having fallen under an extreme Stockholm syndrome. This is not the case. She actually has a character arc about healing that is important and the thing to save Kevin’s soul. There are in-Kevin personalities here with more character arcs than the other famous leads.
Shyamalan has been improving in his craft as a director with each movie, and stripping down to the basics for a contained thriller gave him a better feel for atmospherics and visual spacing with his frame. With Glass, the cinematography by Mike Gioulakis (It Follows, Us) smartly and elegantly uses color to help code the characters and the development of their psychological processes. The direction by Shyamalan feels a bit like he’s looking back for a sense of visual continuity from his long takes and pans from Unbreakable, which places greater importance on the performances and precise framing.
I think the disappointment expressed in many of the mixed-to-negative critical reviews comes down to a departure in tone as well as the capitalization of being an Unbreakable sequel. Both of the previous movies in this trilogy were less action vehicles than psychological thrillers that emphasized darker human emotions and personal struggle. Shyamalan purposely grounded them, as much as one can, in a sense of vulnerable realism, which only made both of their endings stick out a little more. The movies weren’t about existing in a superhero universe but more so about unknown heroes and villains of comic-sized scale living amongst us every day. It was about the real world populated with super beings. Because of that tonal approach, Unbreakable was the epic tale of a security guard taking down one murderous home invader and surviving drowning. It was more the acceptance of the call, and part of that was getting an audience that had not been fed as much superhero mythos as today to also accept that secret reality hiding in plain sight. 18 years later, movie audiences have become highly accustomed to superheroes, their origins, and the tropes of the industry, so I was looking forward to Shyamalan’s stamp. I think our new cultural environment gave Shyamalan the room to expand, and Glass moves into a less realistic depiction of these elements. It’s not the gritty, understated, and more psychologically drawn dramas of his past. It’s more comfortable with larger, possibly sillier elements and shrugging along with them. There are moments where characters will just flat-out name the tropes happening on screen, with straight-laced exposition. It can lead to some chuckles. I think fans of the original might find a disconnect in tone between the three films, especially with this capper. They might ask themselves, “I waited 18 years for these characters to just become like other supers?”
And that refrain might be common as well, namely, “I waited 18 years for this?” While it’s inherently true that a filmmaker doesn’t owe fans anything beyond honest effort, an extended time between sequels does create the buildup of anticipation and the question of whether the final product was worth that excited expectation. Fans of Unbreakable might be somewhat disappointed by the fact that Glass feels like more of a sequel to Split. McAvoy is top-billed for a reason. Perhaps Shyamalan had more of a desire to foster the continuation from a recent hit than an 18-year-old movie. Whatever the rationale, David Dunn gets short shrift. After the opening segment, he’s being institutionalized but he’s not actively trying to escape. As a result, the attention focuses far more onto our two villains, and one of them doesn’t says a word until an hour into the movie. This further exacerbates the disproportionate emphasis on Kevin Wendell Crumb (and The Horde). As stated above, I think that’s where the emphasis should be because he has the most storytelling potential, and McAvoy is amazing. However, if you’ve been waiting 18 years for another face-off between Mr. Glass and the Unbreakable Man, then this might not seem like the special event you dreamt about. Shyamalan still has difficulty staging action sequences. The fights with David and The Beast are pretty lackluster and involve the same non-responsive choke hold moves. There are like half a dozen characters involved with the climactic showdown but half of them are bystanders waiting to be tapped in when the narrative needs them to console their fighter.
I think the ending will also turn some people off for what it does and what it doesn’t do (I’ll avoid spoilers but will be speaking in vague terms this paragraph, so be warned, dear reader). The ending opens up a larger world that leaves you wanting more, even if it was only a passing scene acknowledging the resolution to the final actions. This holds true with an organization that you get only the smallest exposure to that adds to the deluge of questions seeking answers. It sets up a bigger picture with bigger possibilities that will ultimately be left unattended, especially if Shyamalan’s recent interviews are to be taken at face value. What Glass does not do is play with the implications of its ending and explore the newer developments. The ending we do get is indeed ballsy. I gasped. Shyamalan takes some big chances with the direction he chooses to take his story, and I can admire his vision and sense of closure. On the other end, I know that these same decisions will likely inflame the same contingent of disgruntled and disappointed fans.
Shyamalan’s third (and final?) film in his Unbreakable universe places the wider emphasis on the three main characters and their interactions. While McAvoy and Kevin get the light of the spotlight, there are strong moments with Elijah and David Dunn. There are some nifty twists and turns that do not feel cheap or easily telegraphed, which was also a Shyamalan staple of his past. It’s not nearly as good or unnerving as Split, the apex of the Shyamalanaissance, but it entertains by different means. If you were a fan of Unbreakable, you may like Glass, but if you were a fan of Split, I think you’ll be more likely to enjoy Glass. It might not have been worth 18 years but it’s worth two hours.
Nate’s Grade: B