X-MEN: DARK PHOENIX Review

After experiencing the full-on force of a solar flare in the opening action sequence of writer/director Simon Kinberg's X-Men: Dark Phoenix, Sophie Turner's Jean Grey describes the after effects as if feeling like "everything is turned up." One might think this is a subtle way of hinting at the mantra of the movie itself, but in reality Kinberg and Dark Phoenix have taken the opposite approach and scaled things way down in comparison to Apocalypse. And I don't mean down in terms of quality, necessarily, as-let's be honest-the X-Men films have been all over the map in terms of quality over the years, but more simply in terms of the scope. Plus, after the disappointment that was Apocalypse, there wasn't much further down one could go quality-wise. While there was hesitance in approaching Dark Phoenix with anything more than slight optimism (and even that felt generous) given the rumored re-shoots, the attempt to re-tell this notable comics saga, as well as the multiple scheduling changes there was still this glimmer of hope given this was Kinberg's opportunity to finally take the reins meaning there might be some type of newfound energy to the characters and, given where the previous film had left off, some newfound enthusiasm for the world that was being built. And in many ways, this is true of the film as it is apparent from the get-go that Kinberg is taking a new approach to this world and to these characters both aesthetically as much as he is dramatically. In terms of what this fresh approach brings to this X-Men universe is the fact that, for the first time in a long time, it feels as if there is a clarity to what is transpiring-both in terms of the visuals and the direction of the story. Needless to say, Bryan Singer's aesthetic had begun to rely more and more on CGI while his stories felt more based on ideas that were fun in the moment without considering the bigger picture (I'm looking at you, timeline). With Dark Phoenix, there is this lucidity that pulses through the film's veins as it strives to at least try different, more interesting things with the surplus of characters in its possession. As is usual, some get the short end of the stick while others who are not necessarily worthy of the focus receive too much screen time, but while there are some major qualms to be had with Dark Phoenix there are also some serious highs that deserve acknowledgment. As someone who didn't grow up on the comics, but was instead introduced through the animated series and subsequent live-action films, this unexpected swan song of an X-Men film delivers enough of the familiar to make one happy and, surprisingly, enough of a renewed approach that shines new light on oft repeated arcs to make one kind of wish this wasn't the last time we'd see this particular group of mutants on the big screen.

First Trailer for X-MEN: DARK PHOENIX

Simon Kinberg, the long-time writer and architect of all Marvel properties not owned by Disney, will make his directorial debut next year by continuing the convoluted storyline in the follow-up to the terrible X-Men: Apocalypse with X-Men: Dark Phoenix. The X-Men films have always held a special place in my heart as I was at just the right age of thirteen when the first Bryan Singer film debuted in theaters in 2000 and ushered in a new wave of comic book movies that would essentially instigate everything that has come along in the nearly twenty years since. In those years since there has of course been the sequels, the spin-offs, and the First Class re-boot that is now having its own trilogy extended as Kinberg will attempt to not only regain audiences trust after the misfire that was Apocalypse, but also re-write the history of the worst reviewed entry in the franchise prior to Apocalypse: The Last Stand. With Dark Phoenix, Sophie Turner's Jean Grey begins to develop incredible powers that corrupt and turn her into...you guessed it...the Dark Phoenix. The X-Men, including the majority of the First Class cast is (somewhat surprisingly) returning for a fourth go-around-including Michael Fassbender's Magneto, James McAvoy's Professor Charles Xavier, Jennifer Lawrence's Mystique, and Evan Peters' Quick Silver-as well as adding Jessica Chastain's villain to the roster which undoubtedly adds some weight to the project, but that's what we thought when Oscar Isaac signed on as the titular villain in the last movie, so...we'll see. What concerns me is the fact that in the comics, and even in that original trilogy of films-no matter how deep your hate for Last Stand runs, we'd had two previous films and some solid character arcs that were explored that granted a genuine compassion and familiarity for Famke Janssen's character. With Turner, we've barely had a single movie to get to know her iteration of the character and so it is with great optimism that I hope Kinberg has penned a strong script and worked with enough talented filmmakers to do justice to this iconic storyline as fans have already seen how wrong this can go once before. X-Men: Dark Phoenix also stars Tye Sheridan, Nicholas Hoult, Kodi Smit-McPhee, Alexandra Shipp, Evan Jonigkeit, and opens on February 14th, 2019.

WHISKEY TANGO FOXTROT Review

Directors Glenn Ficarra and John Requa have carved out something of a niche for themselves by making high-brow, star-centric, concept dramedies that one can't help but to be interested in if over a certain age. With Crazy Stupid Love being something of a breakout after their underrated 2009 debut in I Love You Phillip Morris the co-directors collaborated on writing and directing the stylish if not overly convoluted Will Smith caper last winter in Focus and have now moved on to collaborate with Tina Fey and long time writing partner Robert Carlock for this adaptation of newspaper reporter Kim Barker's memoir, "The Taliban Shuffle: Strange Days in Afghanistan and Pakistan". While I haven't read Barker's book this is one of the few stories I almost feel compelled to go back and read after having seen the movie version. Typically, I like to read any type of source material prior to seeing a film adaptation due simply to knowing where the idea for the film came from and what/why certain changes might have been made to better adapt the material to a different art form, but Whiskey Tango Foxtrot (why they didn't keep the more engaging title of the book for the movie is something of a mystery, especially given I don't recall there being a title card in the film) is something of an aberration in the sense that the film itself is not necessarily what we might expect from a seeming comedy, that somehow was able to get away with an R-rating, and stars one of the more agreeable celebrities of our time. Fey is someone even the most cynical among us can't seem to dislike and so to pair her with directors who have somehow managed to secure solid budgets on thoughtful, adult fare such as this is inspiring and thankfully, worth the endeavor as the resulting product is a well-constructed, nicely measured bit of insight into a set of circumstances not many can identify with making this inside look and the general proceedings all the more engaging and interesting.

BONE TOMAHAWK Review

Bone Tomahawk, the film, is everything it's gloriously seventies-inspired poster would have you believe it is. From the opening frame we are privy to just how violent this ordeal is prone to get. The slitting of a throat is an excruciating act that is made even moreso when the person holding the knife is unsure of what they're doing. In the opening moments of Bone Tomahawk though it is clear that there are only assured hands present. Buddy (Sid Haig) and Purvis (David Arquette) slice the throats of unsuspecting travellers for no other reason than to rob them blind and move on to the next town. The violence is swift and the visuals are exceedingly bloody which seems to be just the way first time feature director S. Craig Zahler likes it. That this is actually Zahler's directorial debut is somewhat extraordinary as this largely feels like a movie made by an old pro or someone who knows the ropes of pacing and organic character development like the back of their hand. Even more impressive, Zahler single-handedly wrote the screenplay that more or less takes every trope from any Western you've ever seen and somehow incorporates them into an always tense, never yielding story that mirrors The Searchers meets any number of those Italian cannibal exploitation films. The inspirations are clear, the characters more or less archetypes, and the story is not particularly revelatory but somehow-more by craft that innovation-Zahler is able to bring his elements together and form a sum that is greater than it's well-worn parts. Zahler is somehow able to make cinema's oldest genre feel fresh again and that is the film's biggest accomplishment. To this effect, the film is more self-referential than it would be had it been made at another time, but this endearing, self-deprecating quality paired with excellent dialogue throughout and Kurt Russell playing a sheriff is ironically what lends the film it's stylish facade. Bone Tomahawk is as much a film to be admired as it is to be devoured, but that the promise behind these ideas and this style actually deliver is strangely rewarding in a way I didn't see coming.