{"id":1193,"date":"2019-10-22T10:31:28","date_gmt":"2019-10-22T08:31:28","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-x-men-dark-phoenix-uhd\/"},"modified":"2025-06-16T19:18:48","modified_gmt":"2025-06-16T17:18:48","slug":"review-x-men-dark-phoenix-uhd","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-x-men-dark-phoenix-uhd\/","title":{"rendered":"Review: X-men \u2013 Dark Phoenix (UHD)"},"content":{"rendered":"\n

The superhero genre’s cinematic ascendancy began in 2000 with Bryan Singer’s X-Men<\/strong>. This release paved the way for subsequent successes; Sony<\/strong> debuted its first Spider-Man<\/strong> film in 2002, and Warner Brothers<\/strong> followed with Batman Begins<\/strong> (2005). The premiere of Iron-Man<\/a> in 2008 cemented the genre’s trajectory, and over a decade later, superhero films maintain unprecedented popularity. X-Men 2<\/a> was released in 2003, followed in 2006 by the critically panned X-men: Last Stand<\/a>. As the battle for audience share intensified, 20th Century Fox<\/strong> sought to maintain its hold on the X-Men franchise, releasing X-men Origins: Wolverine<\/a> in 2009. The X-men Origins<\/strong><\/em> banner signaled an intention to develop further solo films; plans for an X-men origins: Magneto<\/strong> film, among others, were conceived before the Wolverine<\/em> film’s underwhelming reception. Following this, filmmakers initiated a soft reboot of the X-Men series with the adequate X-Men: First Class<\/strong> (2011), set in the 1960s and featuring a new, younger cast. Two years later, Wolverine<\/a> premiered in theaters \u2013 a film distinct from the 2011 release, despite a similar title. 2014 saw the release of X-men: Days of Future past<\/a>, primarily set in the 1970s, explicitly linking the film to the original trilogy’s continuity. This was followed by the largely criticized X-men: Apocalypse<\/a> in 2016, chronologically set in the 1980s. Prior to today’s review of X-men: Dark Phoenix<\/strong>, the well-received and gritty Logan<\/a> served as a conclusion for the original ensemble cast.<\/p>\n\n\n\n

The year is 1992. NASA launches a space shuttle, only to encounter an immediate crisis. The X-Men, led by Mystique (Jennifer Lawrence)<\/strong>, embark on a rescue mission. However, the situation proves far more perilous than anticipated, resulting in Jean Grey (Sophie Turner)<\/strong> being exposed to significant amounts of cosmic radiation. Initially, her return to Earth seems uneventful, but it soon becomes apparent that Professor Xavier’s (James McAvoy)<\/strong> mental safeguards within her mind have begun to erode. Jean becomes aware of suppressed childhood traumas, causing her life to unravel and transforming her into a threat to herself and those around her. The situation escalates with the arrival of Vuk<\/strong> (Jessica Chastain)<\/strong>, an alien being, and her forces.<\/p>\n\n\n\n

I will begin by discussing the elements that function effectively within X-men: Dark Phoenix<\/em> \u2013 which, initially, are substantial. The film’s opening thirty minutes are genuinely compelling, featuring striking visual effects and an engaging sequence depicting the X-Men’s coordinated efforts to rescue astronauts as their spacecraft disintegrates. Upon their return to Earth, however, the film’s quality diminishes significantly.<\/p>\n\n\n\n

A primary weakness of X-men: Dark Phoenix<\/em> is Simon Kinberg’s<\/strong> directorial debut. Successfully translating superheroes to the screen requires more than simply casting talented actors and employing extensive special effects; it demands a nuanced understanding of how these elements interact within the cinematic frame. An analogous situation can be observed between Terminator 2: Judgement Day<\/strong> and Terminator 3: Rise of the Machines<\/strong>. While both films feature Arnold Schwarzenegger<\/strong> in the lead role, donning similar attire, his character’s effectiveness differs dramatically. James Cameron’s<\/strong> direction, screenplay, and camera work in Terminator 2<\/strong> imbue the character with a sense of coolness, whereas the subsequent film renders him far less compelling. A similar issue plagues Dark Phoenix<\/em>; the heroes’ established appeal is diminished, and the actors’ performances reflect this lack of conviction.<\/p>\n\n\n\n

Furthermore, the X-men<\/em> series suffers from notable inconsistencies and plot discrepancies. For instance, the characters exhibit minimal aging from X-Men: First Class<\/em> to this film, despite a supposed passage of thirty years. The youthful appearance of James McAvoy<\/strong>, whose character should be in his sixties, strains credibility when he claims to have “taken care of Jean Grey since she was a child.” Such inconsistencies undermine the film’s narrative coherence. While one might argue for a reboot with the new cast, divorcing the film from previous installments, this is not the case. The conclusion of X-men: Days of Future Past<\/em> restores the timeline, resurrecting deceased characters. Consequently, our X-Men will age significantly in a mere eight years, as illustrated in the collage below…<\/p>\n\n\n\n

The aging issue merely represents the surface of a larger problem of continuity errors and questionable creative decisions across the films. This culminates in a scenario reminiscent of earlier adaptations, where inconsistencies like the recasting of Two Face<\/strong> between Billy Dee Williams and Tommy Lee Jones were readily overlooked. It will be interesting to observe how the X-Men are integrated into the broader Marvel Cinematic Universe, now that Disney and Marvel have regained the rights to the franchise. Kevin Feige<\/strong> and his team are known for maintaining strong continuity across their films, a quality that the X-Men series has often lacked.<\/p>\n\n\n\n

The Ultra-HD edition, however, is exceptional, significantly enhancing the film’s appeal. The visual presentation is outstanding, boasting vibrant colors and reference-quality black levels. The Dolby Atmos soundtrack is immersive, delivering a full range of audio experiences from subtle nuances to large-scale action sequences. The edition also includes a substantial amount of extra material, which, despite some predictable promotional content, remains reasonably engaging.<\/p>\n\n\n\n

In conclusion, it is unfortunate that the Dark Phoenix<\/em> storyline has been adapted twice, with both attempts falling short of expectations. Compounding the issue is Simon Kinberg’s<\/strong> involvement as the writer of the first iteration (X-men: The Last Stand<\/em>) and director of this one. While one misstep may be forgivable, failing to deliver a successful adaptation on two occasions is a significant concern. Nevertheless, the exceptional quality of the UHD edition, coupled with the genuinely compelling first half-hour, warrants a conditional recommendation.<\/p>\n\n\n\n

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