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BankofMarquis (1832 KP) rated Cocaine Bear (2023) in Movies
Mar 21, 2023
A Ton of Fun
When one decides to watch a film entitled COCAINE BEAR, one pretty much knows what one is getting themselves into.
And, fortunately, Director Elizabeth Banks knew exactly what type of film she was making and her (and her game cast) were up to the challenge…and the fun.
Based on a true event, where a cocaine smuggler fell to his death when his parachute failed to open, COCAINE BEAR posits the “what if” position of what would happen if a Bear ingested it and became aggressive and addicted to cocaine? This fun film takes us through that scenario.
Banks (Director of the PITCH PERFECT films) is the perfect person to helm this film, for she has her tongue planted firmly in her cheek and wisely walked the line between making it violent enough for idiots like me to enjoy and not TOO violent so that the target audience – I would assume that would be teenage boys – can attend as well. She paces the film briskly enough for the audience to not ask too many questions, and the film is short enough to be enjoyable, without beating the premise into the ground.
Jesse Tyler Ferguson (MODERN FAMILY), Kristofer Jivju (Tormand in GAME OF THRONES), Isiah Whitlock, Jr (BLACK KKKLANSMAN). and O’Shea Jackson, Jr (STRAIGHT OUTTA COMPTON) are all in on the fun and they look like they are having a GREAT time playing in this sandbox. As do Keri Russell, Matthew Rhys and the always-great Margo Martindale (forming a mini THE AMERICANS reunion). Martindale almost steals the film from the COCAINE BEAR…almost.
Special notice needs to be made of the work of Aiden Ehrenriech (erstwhile Hans Sole in SOLO: A STAR WARS STORY). He is one of those performers who looks like he is trying too hard to please, but not in this film. He looks comfortable and relaxed and this just might be the best performance of his career. The same can NOT be said for the late Ray Liotta (in his last film role). While not his best performance (that would be GOODFELLAS), it is a “classic Liotta” in that he plays the drug dealer who is looking for his lost cocaine with zest, energy and unapologetically. It’s a shame that we lost this wonderful film presence.
But…all of these performers play second fiddle to the titular character – the CGI creation that is COCAINE BEAR. Bravo to the company that did the effect in this film, they make the out-of-control bear believable while the character is doing unbelievable things.
A fun “B” flick in every sense of the word – COCAINE BEAR is a ton of fun (I laughed out loud LOUDLY a couple of times). Just know before you view it, what kind of film you are watching.
Letter Grade: B (of course)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
And, fortunately, Director Elizabeth Banks knew exactly what type of film she was making and her (and her game cast) were up to the challenge…and the fun.
Based on a true event, where a cocaine smuggler fell to his death when his parachute failed to open, COCAINE BEAR posits the “what if” position of what would happen if a Bear ingested it and became aggressive and addicted to cocaine? This fun film takes us through that scenario.
Banks (Director of the PITCH PERFECT films) is the perfect person to helm this film, for she has her tongue planted firmly in her cheek and wisely walked the line between making it violent enough for idiots like me to enjoy and not TOO violent so that the target audience – I would assume that would be teenage boys – can attend as well. She paces the film briskly enough for the audience to not ask too many questions, and the film is short enough to be enjoyable, without beating the premise into the ground.
Jesse Tyler Ferguson (MODERN FAMILY), Kristofer Jivju (Tormand in GAME OF THRONES), Isiah Whitlock, Jr (BLACK KKKLANSMAN). and O’Shea Jackson, Jr (STRAIGHT OUTTA COMPTON) are all in on the fun and they look like they are having a GREAT time playing in this sandbox. As do Keri Russell, Matthew Rhys and the always-great Margo Martindale (forming a mini THE AMERICANS reunion). Martindale almost steals the film from the COCAINE BEAR…almost.
Special notice needs to be made of the work of Aiden Ehrenriech (erstwhile Hans Sole in SOLO: A STAR WARS STORY). He is one of those performers who looks like he is trying too hard to please, but not in this film. He looks comfortable and relaxed and this just might be the best performance of his career. The same can NOT be said for the late Ray Liotta (in his last film role). While not his best performance (that would be GOODFELLAS), it is a “classic Liotta” in that he plays the drug dealer who is looking for his lost cocaine with zest, energy and unapologetically. It’s a shame that we lost this wonderful film presence.
But…all of these performers play second fiddle to the titular character – the CGI creation that is COCAINE BEAR. Bravo to the company that did the effect in this film, they make the out-of-control bear believable while the character is doing unbelievable things.
A fun “B” flick in every sense of the word – COCAINE BEAR is a ton of fun (I laughed out loud LOUDLY a couple of times). Just know before you view it, what kind of film you are watching.
Letter Grade: B (of course)
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Darren (1599 KP) rated *batteries not included (1987) in Movies
Jun 20, 2019
Story: *batteries not included starts by introducing us to Frank (Cronyn), Faye (Tandy) Harry (Noble), Marisa (Pena) and Mason (Boutsikaris) who all are the remaining residents living in the middle of a building site, constantly being hounded by Carlos (Carmine) trying to force them to move out to the building can be demolished.
The lives of these residents takes a surprise turn when robotic aliens enter the apartment fixing the damaged caused within as the resident try to communicate with them. The Aliens become part guardians of the residents who continue to fight to keep their homes.
*batteries not included is a charming comedy fantasy that we get to see the serious side of the human life where people are forced relocated. I think this point comes through strong with each side be it the residents the rich or the thugs to remove the characters it all comes off great. We also get to see the unknown with the robots appearing in the story. overall this story is easy to follow and truly enjoyable throughout.
Actor Review
Hume Cronyn: Frank Riley is the café owner and husband to Faye, he does everything he can to look after her and run a business but it is his wish that comes true when the aliens arrive. We see Frank start to have to make the difficult decision about caring for Faye in her condition. Hume is good in this role leading the film.
Jessica Tandy: Faye Riley is the wife of Frank who is suffering with dementia, she spends nearly every moment of her waking day waiting for her son to return and making friends with her condition. Jessica is great in this role where we get to see the most laughs from her character.
Frank McRae: Harry Noble is the former fighter that now is a mute living in the building watching television most of his time. He finds a way to communicate with the aliens that the others can’t. Frank is good in this role where we get to see the stronger character with a heart of gold.
Elizabeth Pena: Marisa Esteval is a pregnant resident of the home who has been getting harassed by the people trying to get her out but she is strong independent woman. Elizabeth is good in this role going through her own struggles in the story.
Support Cast: *batteries not included has a supporting cast that is mostly just Carlos who is trying to chase them out and artist Mason living in the building, we don’t really have a need for a big cast to make this enjoyable.
Director Review: Matthew Robbins – Matthew gives us a truly enjoyable touching and charming fantasy film.
Comedy: *batteries not included has good laughs throughout mixing slapstick with jokes well.
Family: *batteries not included is one I do think the family can all enjoy.
Fantasy: *batteries not included throws us into a world where aliens can be friendly and not a threat.
Sci-Fi: *batteries not included uses the alien side of the story for the science fiction side of the story.
Settings: *batteries not included keeps most of the settings inside the building showing us how these unlikely residents could become friends.
Special Effects: *batteries not included has special effects which still look good today when it comes to the robots.
Suggestion: *batteries not included is one I do think people will enjoy. (Watch)
Best Part: Robots.
Worst Part: Not one.
Believability: No
Chances of Tears:
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 46 Minutes
Tagline: Five ordinary people needed a miracle. Then one night, Faye Riley left the window open.
Overall: Truly enjoyable fantasy comedy.
https://moviesreview101.com/2016/08/24/batteries-not-included-1987/
The lives of these residents takes a surprise turn when robotic aliens enter the apartment fixing the damaged caused within as the resident try to communicate with them. The Aliens become part guardians of the residents who continue to fight to keep their homes.
*batteries not included is a charming comedy fantasy that we get to see the serious side of the human life where people are forced relocated. I think this point comes through strong with each side be it the residents the rich or the thugs to remove the characters it all comes off great. We also get to see the unknown with the robots appearing in the story. overall this story is easy to follow and truly enjoyable throughout.
Actor Review
Hume Cronyn: Frank Riley is the café owner and husband to Faye, he does everything he can to look after her and run a business but it is his wish that comes true when the aliens arrive. We see Frank start to have to make the difficult decision about caring for Faye in her condition. Hume is good in this role leading the film.
Jessica Tandy: Faye Riley is the wife of Frank who is suffering with dementia, she spends nearly every moment of her waking day waiting for her son to return and making friends with her condition. Jessica is great in this role where we get to see the most laughs from her character.
Frank McRae: Harry Noble is the former fighter that now is a mute living in the building watching television most of his time. He finds a way to communicate with the aliens that the others can’t. Frank is good in this role where we get to see the stronger character with a heart of gold.
Elizabeth Pena: Marisa Esteval is a pregnant resident of the home who has been getting harassed by the people trying to get her out but she is strong independent woman. Elizabeth is good in this role going through her own struggles in the story.
Support Cast: *batteries not included has a supporting cast that is mostly just Carlos who is trying to chase them out and artist Mason living in the building, we don’t really have a need for a big cast to make this enjoyable.
Director Review: Matthew Robbins – Matthew gives us a truly enjoyable touching and charming fantasy film.
Comedy: *batteries not included has good laughs throughout mixing slapstick with jokes well.
Family: *batteries not included is one I do think the family can all enjoy.
Fantasy: *batteries not included throws us into a world where aliens can be friendly and not a threat.
Sci-Fi: *batteries not included uses the alien side of the story for the science fiction side of the story.
Settings: *batteries not included keeps most of the settings inside the building showing us how these unlikely residents could become friends.
Special Effects: *batteries not included has special effects which still look good today when it comes to the robots.
Suggestion: *batteries not included is one I do think people will enjoy. (Watch)
Best Part: Robots.
Worst Part: Not one.
Believability: No
Chances of Tears:
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Runtime: 1 Hour 46 Minutes
Tagline: Five ordinary people needed a miracle. Then one night, Faye Riley left the window open.
Overall: Truly enjoyable fantasy comedy.
https://moviesreview101.com/2016/08/24/batteries-not-included-1987/
Movie Metropolis (309 KP) rated Kingsman: The Secret Service (2015) in Movies
Jun 10, 2019
Simply Brilliant
Director Matthew Vaughn has brought some visually striking films to the big screen in his fairly short career, from the brilliant Layer Cake, to the movie which many credit as saving the X-Men franchise, First Class, he certainly knows his way around a camera.
However, Kingsman: The Secret Service is probably his riskiest proposition yet. Can a dark comedy about upper-class British spies with their tailor-made suits compete with the very best films in the genre?
Thankfully the answer is a resounding yes. The spectacular cinematography and fantastic performances in Kingsman ensure it is one of the most memorable and cleverly crafted blockbusters of the last decade.
The film follows the story of underprivileged Eggsy, played wonderfully by Taron Egerton in his first full role, as he does his best to join The Kingsmen, a secret society of spies working to bring down evil in the world.
An absolutely marvellous Colin Firth and a slightly underused Michael Caine also play part of this group – possibly creating the poshest ensemble of characters seen in a film for years.
Naturally a spy flick isn’t complete without a villain and Samuel L Jackson is on course here to become one of the cheesiest megalomaniacs ever put to the big screen. His deliberately camp performance goes well with the dark humour throughout.
Kingsman is also genuinely funny and a real treat to watch with explosive, over-the-top visuals and beautiful scenery which utilises what the world has to offer rather than delving into the CGI drawer many directors employ nowadays.
It all feels decidedly old fashioned and all the better for it with an almost grainy quality to the production – think The Avengers TV series but with a higher budget.
The plot is top notch and whilst it may border on cliché at times, Kingsman manages to steer the story in enough directions to make sure the audience never settles into a rut, the use of our reliance on modern technology being a particular highlight.
Special effects wise, it holds up well with most other blockbusters and has just a few lapses in CGI at the start and towards the riveting finale,Taron_Egerton_SDCC_2014 though these are barely noticeable if you’re not looking hard enough.
Moreover, it is a true pleasure to sit in a film and not wonder what the producers had to cut to achieve a crowd-pleasing 12A certification. Kingsman pulls no punches, this is a violent rollercoaster ride and well deserves the BBFC 15 rating it has been given. Whether or not this hurts its box-office performance remains to be seen.
Overall, Kingsman: The Secret Service is one of the only films which combines the ever-popular spy genre with comedy and manages to keep its dignity in tact as the end credits role.
So many films, Johnny English: Reborn and Get Smart to name a couple, simply delve into slapstick territory once the writers run out of ideas – this isn’t the case here.
From its exciting plot and brutally dark humour, to the engaging performances from every single character, Kingsman: The Secret Service is simply brilliant.
https://moviemetropolis.net/2015/01/30/simply-brilliant-kingsman-the-secret-service-review/
However, Kingsman: The Secret Service is probably his riskiest proposition yet. Can a dark comedy about upper-class British spies with their tailor-made suits compete with the very best films in the genre?
Thankfully the answer is a resounding yes. The spectacular cinematography and fantastic performances in Kingsman ensure it is one of the most memorable and cleverly crafted blockbusters of the last decade.
The film follows the story of underprivileged Eggsy, played wonderfully by Taron Egerton in his first full role, as he does his best to join The Kingsmen, a secret society of spies working to bring down evil in the world.
An absolutely marvellous Colin Firth and a slightly underused Michael Caine also play part of this group – possibly creating the poshest ensemble of characters seen in a film for years.
Naturally a spy flick isn’t complete without a villain and Samuel L Jackson is on course here to become one of the cheesiest megalomaniacs ever put to the big screen. His deliberately camp performance goes well with the dark humour throughout.
Kingsman is also genuinely funny and a real treat to watch with explosive, over-the-top visuals and beautiful scenery which utilises what the world has to offer rather than delving into the CGI drawer many directors employ nowadays.
It all feels decidedly old fashioned and all the better for it with an almost grainy quality to the production – think The Avengers TV series but with a higher budget.
The plot is top notch and whilst it may border on cliché at times, Kingsman manages to steer the story in enough directions to make sure the audience never settles into a rut, the use of our reliance on modern technology being a particular highlight.
Special effects wise, it holds up well with most other blockbusters and has just a few lapses in CGI at the start and towards the riveting finale,Taron_Egerton_SDCC_2014 though these are barely noticeable if you’re not looking hard enough.
Moreover, it is a true pleasure to sit in a film and not wonder what the producers had to cut to achieve a crowd-pleasing 12A certification. Kingsman pulls no punches, this is a violent rollercoaster ride and well deserves the BBFC 15 rating it has been given. Whether or not this hurts its box-office performance remains to be seen.
Overall, Kingsman: The Secret Service is one of the only films which combines the ever-popular spy genre with comedy and manages to keep its dignity in tact as the end credits role.
So many films, Johnny English: Reborn and Get Smart to name a couple, simply delve into slapstick territory once the writers run out of ideas – this isn’t the case here.
From its exciting plot and brutally dark humour, to the engaging performances from every single character, Kingsman: The Secret Service is simply brilliant.
https://moviemetropolis.net/2015/01/30/simply-brilliant-kingsman-the-secret-service-review/
Animated Knots by Grog HD
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Named the best knot-tying app by Outside Magazine! Learn to tie knots the fun and easy way from the...
Gareth von Kallenbach (971 KP) rated Kubo and the Two Strings (2016) in Movies
Jul 15, 2019
If you must blink, do it now” or you might miss any number of details the
beautifully animated film, Kubo and the Two Strings, has to offer. Our
culturally rich journey begins with Kubo (Art Parkinson) and his mother
fleeing from his evil grandfather, the Moon King (Ralph Fiennes), after he
leaves Kubo with only one eye. Soon they settle in a cave where Kubo builds
a community around himself in a nearby Japanese village by using his
talents as a storyteller to charm the town’s people. With his stack of
origami papers and his shamisen that brings them to life he weaves tales of
Hanzo the Samurai. Soon though the danger his mother has tried so valiantly
to hide him from finds him and the real magic begins.
After he inadvertently summons an evil spirit from the past, Kubo is lead
on a quest by a monkey (Charlize Theron) to the far lands to recover three
pieces of a magical suit of armor. On their journey they find companionship
with a giant beetle (Matthew McConaughey) that they learn once belonged to
Kubo’s father’s army. The three are plagued by appearances from his aunts
(Rooney Mara) who try their best to keep Kubo from fulfilling his quest. In
the end Kubo is faced with having to choose immortality or to stay human
which we learn has a kind of magic all in its own.
Though I found parts of the film a bit dark for younger viewers it seems it
is a theme of the animated film studio Laika (Coraline, ParaNorman). There
was some comic relief through the banter of Charlize Theron (monkey) and
Mathew McConaughey (beetle) but the movie always circled backed to a more
serious tone. I also felt it could have done a better job of giving us a
back story about how Kubo comes to posses his magical items (origami papers
and his shamisen) and it glossed over some important details, like why his
mother is so fragile after they reach the cave, which we are left to assume
for ourselves. Kubo does however emphasize the power of our memories and
how important stories become in telling what one holds in his or her heart.
Kubo is thoughtful and weaves a story of how family shapes us but how in
the end we must forge our own path.
beautifully animated film, Kubo and the Two Strings, has to offer. Our
culturally rich journey begins with Kubo (Art Parkinson) and his mother
fleeing from his evil grandfather, the Moon King (Ralph Fiennes), after he
leaves Kubo with only one eye. Soon they settle in a cave where Kubo builds
a community around himself in a nearby Japanese village by using his
talents as a storyteller to charm the town’s people. With his stack of
origami papers and his shamisen that brings them to life he weaves tales of
Hanzo the Samurai. Soon though the danger his mother has tried so valiantly
to hide him from finds him and the real magic begins.
After he inadvertently summons an evil spirit from the past, Kubo is lead
on a quest by a monkey (Charlize Theron) to the far lands to recover three
pieces of a magical suit of armor. On their journey they find companionship
with a giant beetle (Matthew McConaughey) that they learn once belonged to
Kubo’s father’s army. The three are plagued by appearances from his aunts
(Rooney Mara) who try their best to keep Kubo from fulfilling his quest. In
the end Kubo is faced with having to choose immortality or to stay human
which we learn has a kind of magic all in its own.
Though I found parts of the film a bit dark for younger viewers it seems it
is a theme of the animated film studio Laika (Coraline, ParaNorman). There
was some comic relief through the banter of Charlize Theron (monkey) and
Mathew McConaughey (beetle) but the movie always circled backed to a more
serious tone. I also felt it could have done a better job of giving us a
back story about how Kubo comes to posses his magical items (origami papers
and his shamisen) and it glossed over some important details, like why his
mother is so fragile after they reach the cave, which we are left to assume
for ourselves. Kubo does however emphasize the power of our memories and
how important stories become in telling what one holds in his or her heart.
Kubo is thoughtful and weaves a story of how family shapes us but how in
the end we must forge our own path.
Gareth von Kallenbach (971 KP) rated Mowgli (2018) in Movies
Jul 2, 2019
When humans encroach on the jungle they get too close to the animals that call the jungle home. It’s inevitable that they clash. When Shere Khan (Benedict Cumberbatch), a tiger who has no regard for the rules of the jungle, slaughters a group of humans only a child survives. A black panther, Bagheera (Christian Bale), saves the boy, Mowgli (Rohan Chand), and takes him to live with a group of wolves. There he is raised by his mother, Nisha (Naomie Harris), and tried to become part of the pack by Baloo (Andy Serkis), a black bear. Mowgli must train with Baloo to become a member of the pack. As he trains he sees that man expand. With this expansion the man brings back Shere Khan. He kills many of the cows and leaves them for the humans to find. This makes the humans enlist a hunter, Lockwood (Matthew Rhys), to kill the tiger. Also Bagheera believes that sending Mowgli to the humans will keep him safe. Mowgli, just a young boy, must now try and bridge the animal world he knows in the jungle and the human world.
This is a live action retelling of the novel by Rudyard Kipling, The Jungle Book. Actor/Director Andy Serkis creates a beautiful story with really well done CGI. The visuals are really well done and by far the best part of the film. The cast, which also includes Cate Blanchett, Eddie Marsan, Tom Hollander, etc. make the animals they voice come to life. This take on the famous story is familiar but also changed ever so slightly from previous versions that it keeps it interesting. Young actor Rohan Chand does a decent job of carrying most of the live acting portions of the film.
The film really made me feel nostalgic at times. The film does take a little darker look at the old classic and would say it is for a little more mature audiences than the 1967 cartoon or 2016 live action, both The Jungle Book, takes on this story. The visuals are really good but the story does miss at times. I really thought that the climax really had a slow build but then really finished quickly. There was definitely room for improvement there but overall it was a pleasant movie experience. The theater viewing was visually really good and I am sure it would be a decent home experience with the Netflix release.
This is a live action retelling of the novel by Rudyard Kipling, The Jungle Book. Actor/Director Andy Serkis creates a beautiful story with really well done CGI. The visuals are really well done and by far the best part of the film. The cast, which also includes Cate Blanchett, Eddie Marsan, Tom Hollander, etc. make the animals they voice come to life. This take on the famous story is familiar but also changed ever so slightly from previous versions that it keeps it interesting. Young actor Rohan Chand does a decent job of carrying most of the live acting portions of the film.
The film really made me feel nostalgic at times. The film does take a little darker look at the old classic and would say it is for a little more mature audiences than the 1967 cartoon or 2016 live action, both The Jungle Book, takes on this story. The visuals are really good but the story does miss at times. I really thought that the climax really had a slow build but then really finished quickly. There was definitely room for improvement there but overall it was a pleasant movie experience. The theater viewing was visually really good and I am sure it would be a decent home experience with the Netflix release.
Gareth von Kallenbach (971 KP) rated A Beautiful Day in the Neighborhood (2019) in Movies
Nov 28, 2019
When I first heard that Tom Hanks was playing Fred Rogers in a biopic, I was all on board. Who wouldn’t be? When I finally saw the film about a year and a half later, it was not the movie I was expecting. In such a fantastically good way.
A Beautiful Day in the Neighborhood tells the story of the real life friendship between Fred Rogers (Tom Hanks) and journalist Lloyd Vogel (Matthew Rhys, character based on real life journalist Tom Junod). Vogel is an investigative reporter for Esquire magazine in the late nineties and he is assigned a “puff” piece. The magazine was doing an issue on heroes, and Vogel was assigned Mr. Rogers, and would be a story unlike any other that he has written. After meeting and talking to Mr. Rogers for the first time, he couldn’t believe that this person was… well, perfect. Let’s be clear, Mr. Rogers is not perfect, but probably as close to perfect as many can imagine. So Vogel did what he does best. He started investigating. And during the course of his discoveries, he started to make discoveries about himself, and the relationships in his life, specifically with that of his father, Jerry Vogel (Chris Cooper).
This movie was so much more than I expected going in. I expected to tear up, I didn’t expect it to hit home the way show used to as I was growing up and watch the show well into my twenties. The cinematography was excellent. Many times it felt like I was watching the show as the movie essentially played out like an episode. The transitions were amazing, and the music was fantastic as well. They didn’t try to do anything artsy or new age with anything. All of the original themes and music was there. It was one of the most nostalgic movie going experiences I have ever had.
This is definitely a great movie to see, but do not mistake it for a children’s film, please. There are some very mature themes, language, and concepts. This is definitely meant to shine some light on the nature of human character versus the lessons taught by the legendary Mr. Rogers. That being said, go see it. It absolutely will not ruin your childhood.
A Beautiful Day in the Neighborhood tells the story of the real life friendship between Fred Rogers (Tom Hanks) and journalist Lloyd Vogel (Matthew Rhys, character based on real life journalist Tom Junod). Vogel is an investigative reporter for Esquire magazine in the late nineties and he is assigned a “puff” piece. The magazine was doing an issue on heroes, and Vogel was assigned Mr. Rogers, and would be a story unlike any other that he has written. After meeting and talking to Mr. Rogers for the first time, he couldn’t believe that this person was… well, perfect. Let’s be clear, Mr. Rogers is not perfect, but probably as close to perfect as many can imagine. So Vogel did what he does best. He started investigating. And during the course of his discoveries, he started to make discoveries about himself, and the relationships in his life, specifically with that of his father, Jerry Vogel (Chris Cooper).
This movie was so much more than I expected going in. I expected to tear up, I didn’t expect it to hit home the way show used to as I was growing up and watch the show well into my twenties. The cinematography was excellent. Many times it felt like I was watching the show as the movie essentially played out like an episode. The transitions were amazing, and the music was fantastic as well. They didn’t try to do anything artsy or new age with anything. All of the original themes and music was there. It was one of the most nostalgic movie going experiences I have ever had.
This is definitely a great movie to see, but do not mistake it for a children’s film, please. There are some very mature themes, language, and concepts. This is definitely meant to shine some light on the nature of human character versus the lessons taught by the legendary Mr. Rogers. That being said, go see it. It absolutely will not ruin your childhood.
Movie Metropolis (309 KP) rated X-Men: Dark Phoenix (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
Goodbye Normal Jean
It would be easy to write off X-Men: Dark Phoenix as a complete and utter disaster. With the departure of Bryan Singer (again) from the franchise, first-time director Simon Kinberg taking his place and rumours of costly reshoots pushing the budget north of $200million, things weren’t looking good for this adaptation of the popular Marvel comic.
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/
Let’s not forget that the last time Fox tried to adapt this storyline we ended up with 2006’s The Last Stand, and the less said about that the better. Looking back over the last 20 years, the X-Men’s film franchise history has been chequered to say the least.
Nevertheless, this particular timeline that started with Matthew Vaughn’s adequate First Class, followed up by the excellent Days of Future Past and the flabby Apocalypse ends with Dark Phoenix. But is it worthy of your consideration?
This is the story of one of the X-Men’s most beloved characters, Jean Grey (Sophie Turner), as she evolves into the iconic Phoenix. During a rescue mission in space, Jean is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with this increasingly unstable power as well as her own personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.
First things first – this is not a bad film. Yes, you heard me right. Leagues above Apocalypse and much better than The Last Stand, Dark Phoenix is a film that has been let down by catastrophically poor marketing. It’s not perfect, as we’ll discover in this review, but it tries a different approach, and for that it should be applauded.
For this reviewer, the modern day cast of characters has always been a weak spot for the series and that doesn’t really change in Dark Phoenix. James McAvoy remains miscast as Charles Xavier, especially since packing on the muscle for this Glass, but he performs much better here than he did in its predecessor. His transition into egotistical maniac, obsessed by the celebrity status the X-Men have acquired at the outset of the film is an intriguing diversion from where he was at the end of Apocalypse.
The younger cast are more likeable. Kodi Smitt-McPhee’s portrayal of Nightcrawler is fabulous and he gets more to do this time around. Tye Sheridan is great as young Cyclops and Evan Peters’ Quicksilver remains a highlight, though it’s unfortunate he’s cast aside relatively quickly – for fans of his set pieces from the previous two films, you’ll be disappointed here. Michael Fassbender and Nicholas Hoult bring their a-games, but they even seem a little bored by what’s going on. “You’re always sorry, Charles. And there’s always a speech. But nobody cares anymore!” bites Michael Fassbender at one point in the film – perhaps he’s onto something?
The first hour is perhaps the best the series has been since Days of Future Past
Of the female cast, Sophie Turner does her best with the material she’s given, and her Jean Grey is full of anger, angst and melancholy. The script struggles to provide her with any other emotion, but she’s a pleasing protagonist for the most part. Unfortunately, Jennifer Lawrence completely phones in her performance as Mystique and Jessica Chastain’s horrifically underwritten villain wastes a fabulous actor in a thankless role – much like Oscar Issac in Apocalypse.
With reports of heavy reshoots, you’d be forgiven for thinking that the film would end up a royal mess. Thankfully, the first hour is perhaps the best the series has been since Days of Future Past. Focusing on character development rather than all-out action, it’s a pleasing change and one which is more than welcome. Unfortunately, as time ticks away, the film loses all semblance of sanity and becomes muddled as it steamrolls towards an underwhelming climax.
And despite the reported budget of $200million, some of the shot choices and outfits feel cheap. It’s clear director Simon Kinberg is a fan of the series, but the X-Men costumes are bland, ill-fitting and a world away from what we’ve seen before. Closer to the comics they may be, but that’s not always a good thing. Elsewhere, the film feels cut-rate, almost TV-movie like and that’s a real shame because the special effects are top-notch. Mercifully, Hans Zimmer’s score is wonderful. The soaring orchestral soundtrack works brilliantly with the film – it’s probably the best music in the series to date.
Overall, X-Men: Dark Phoenix has been a victim of poor marketing with trailers that spoilt perhaps the most pivotal moment of the film (which we won’t spoil here). Nevertheless, the first hour is great and the special effects provide the film with some thrilling set pieces. It’s a shame then that the film offers up nothing new to the table despite some committed performances – this Phoenix just doesn’t quite rise to the occasion.
https://moviemetropolis.net/2019/06/07/x-men-dark-phoenix-review-goodbye-normal-jean/