BLACK BAG – Review

(L to R) Regé-Jean Page as Col. James Stokes, Naomie Harris as Dr. Zoe Vaughn, Michael Fassbender as George Woodhouse, Cate Blanchett as Kathryn St. Jean, Tom Burke as Freddie Smalls, and Marisa Abela as Clarissa Dubose in director Steven Soderbergh’s BLACK BAG, a Focus Features release. Credit: Claudette Barius/Focus Features © 2025 All Rights Reserved.

Like a smart, stylish, twisty spy thriller with a dash of dry British humor? Then Steven Soderbergh has a film for you. BLACK BAG stars Michael Fassbender and Cate Blanchet as married spies George and Kathryn in this cleverly-written British-set spy thriller. When George is assigned to uncover a leak in MI6, one that risks exposing a top-secret plan called Severus, the pressure is on. “Fun and games,” as George puts it, ensue.

But it is not comedy but spy thriller jolts and twists we get. The film’s title comes from a term these married spies,use for things they have to keep secret, even from each other. “It’s in the black bag,” or just “black bag” is the phrase they use for those secrets, and in fact, everyone who works at the spy agency uses that term, as they are not the only couples there. If you are a spy, who else could you safely have a romance with besides someone at your agency?

BLACK BAG jumps right into things from the first shot, with titles on screening reading “Friday” and “London,” and a long take following George (Michael Fassbender) on a quick stroll through sophisticated London streets, which sets the film’s stylish tone. The shot follows him into a neon-lit club packed with dancers, down some stairs to a lower level, and out to terrace under stars, where he meets with fellow spy Philip Meacham (Gustaf Skarsgard). They chat briefly about Meacham’s marriage, which is on the rocks after he cheated on his wife, with Philip mentioning George’s famously solid marriage as the exception in their line of work. After George suggests that Meacham’s wife might be less angry if he goes home, they get down to business – which is that a traitor in their ranks who may have exposed a sensitive plan known as “Severus.” Meacham then hands George a list of possible suspects.

We don’t see the list but Meacham mentions that George’s wife Kathryn (Cate Blanchet) is on it, and then asks George how long the investigation will take. “About two weeks,” George replies, which prompts Meacham to say that if “Severus” gets out, thousands will die. “OK, one week,” says George.

That flash of dry humor also helps set the film’s tone, along with the visual elegance of the long opening single shot. But the opening sequence efficiently does a number of things besides that, including establishing place, who these characters are, the puzzle to be solved, all while adding a ticking-clock aspect to motivate the action. The film never even mentions MI6, but we can surmise that from the London locale. Hitchcock would be proud.

“Efficient” is a good word for this highly-entertaining thriller, which runs a mere 93 minutes. Those who complain about overly-long films should appreciate that, yet BLACK BAG gets everything done without skimping on visual style, atmosphere, or any needed element.

A couple of days after George’s meeting with Meacham, the latter dies suspiciously, upping the pressure to find the leak. George and Kathryn had already planned a dinner party for other couples at the agency, so George now turns the dinner into an opportunity to probe for information, as some of the guests are on that list we didn’t see. Kathryn asks him what’s on the menu, to which George replies “fun and games.” “Will there be a mess to clean up?” she asks. “With any luck,” he replies.

The “fun and games” is a reference to “Who’s Afraid of Virginia Woolf?” which goes to the original idea for the script, suggested to screenwriter David Koepp by director Steven Soderbergh, who wondered what if the couple in that novel were spies instead academics. But this couple in this clever script are not the angry battling pair in that novel and movie, even though Koepp retained the name “George” from the book’s George and Martha. Instead, George and Kathryn are devoted to each other, to the point where they might put their marriage above anything else, which raises some interesting questions for a married pair of spies hunting for a traitor in their midst.

There are more literary and cinematic references, in this smart and gripping spy drama, which combines John LeCarre with Agatha Christie, tosses in some “Mr. and Mrs. Smith” and adds a dose of dry British humor, for a highly entertaining espionage mix.

BLACK BAG is an exciting spy thriller/drama but it is not an action film. There are no car chases and no shoot-outs although there is some violence and blood. The focus is more psychological thriller and solving the puzzle, with plenty of tense suspense and strong character development.

The film’s short running time and efficient direction mean that not much is spelled out or repeated, so audiences need to pay attention. However, we do get some reminders about important points, and nearly every character mentions George and Kathryn’s strong marriage, a key aspect in the plot.

There is a good deal about relationships in the film, with explorations of the others’ romantic relationships (which go to the whodunit plot) and there are some slightly steamy romantic scenes between Fassbender and Blanchet. No sequence runs very long, just enough to make the point well. The film moves at a brisk pace as it twists through it’s story, although never so fast that you can’t keep up – if you are paying attention.

Fassbender and Blanchet are both marvelous here, perfect in their scenes together. where they radiate sexual chemistry, and in their individual scenes. The rest of the cast are outstanding too, with a cast of characters who fascinate, who are mostly other couples. Tom Burke and Marisa Abela play Freddie and Clarissa, a couple mismatched in age but who have other attractions along with plenty troubles underlying their fiery romance. Rising-star Col. James Stokes (Rege-Jean Page) and in-house psychiatrist Dr. Zoe Vaughan (Naomie Harris) are better matched in age but less so in temperament. Pierce Brosnan plays a senior spy and team leader, Arthur Stieglitz, who has been there since the Cold War, while Gustaf Skarsgard makes a strong impression in his two scenes early on as Philip Meacham, with Kae Alexander in a brief appearance as his wife Anna.

For fans of clever spy thrillers, BLACK BAG is great fun. Steven Soderbergh’s couple-centered spy thriller is not a film with any grand statement to make, but it is a highly entertaining spy thriller that combines the chilly atmosphere of John LeCarre’s spy novels with Agatha Christie’s twisty cast-of-characters mysteries. If you enjoy any of that, plus a clever, original script with a plot to keeping you guessing, a touch of hot romance, and an intriguing bunch of characters with their own problems, BLACK BAG is just the ticket for you.

BLACK BAG opens Friday, Mar. 14, in theaters.

RATING: 4 out of 4 stars

Win Passes To The St. Louis Advance Screening Of BLACK BAG

From Director Steven Soderbergh, BLACK BAG is a gripping spy drama about legendary intelligence agents George Woodhouse and his beloved wife Kathryn. When she is suspected of betraying the nation, George faces the ultimate test – loyalty to his marriage or his country. (Trailer)

Starring Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, and Pierce Brosnan, BLACK BAG will open in theaters nationwide on March 14th.

https://focusfeatures.com/black-bag

Watch this new clip from the film.

The St. Louis screening is Tuesday, March 11 at 7:00pm at B&B West Olive Creve Coeur 10.

PASS LINK: https://focusfeaturesscreenings.com/nIbce54984

Please arrive early as seating is not guaranteed.

Rated R.

(L to R) Cate Blanchett as Kathryn St. Jean and Michael Fassbender as George Woodhouse in director Steven Soderbergh’s BLACK BAG, a Focus Features release. Credit: Claudette Barius/Focus Features © 2025 All Rights Reserved.

Steven Soderbergh’s BLACK BAG Trailer Stars Cate Blanchett, Michael Fassbender And Pierce Brosnan

Michael Fassbender stars as George Woodhouse in director Steven Soderbergh’s BLACK BAG, a Focus Features release. Credit: Claudette Barius/Focus Features © 2025 All Rights Reserved.

From Director Steven Soderbergh, BLACK BAG is a gripping spy drama about legendary intelligence agents George Woodhouse and his beloved wife Kathryn. When she is suspected of betraying the nation, George faces the ultimate test – loyalty to his marriage or his country.

Stars Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, and Pierce Brosnan.

Focus Features will release BLACK BAG in theaters on Friday, March 14th. Watch the first trailer now.

https://focusfeatures.com/black-bag

NEXT GOAL WINS (2023) – Review

Seeing as how the football season is in full swing, filling up the TV over the next few weekends, how can the multiplex prey those sports fanatics away from the small screens? Easy. put a real-life underdog football story on the big screens. Ah, but there are a couple of twists. Unlike RUDY or ANY GIVEN SUNDAY, this new film actually focuses on what the USA sports fans call soccer, but called football globally. Oh, and it does take place way way across that globe, though it’s still technically part of this country. Plus it’s not the typical inspirational inspired-by-real-events drama, but a rollicking comedy helmed by one of the current kingpins of slapstick farce. This ragtag team of misfits just wants to score one point, perhaps in the hope that the NEXT GOAL WINS.

And just where is the setting for this story? Why, it takes place on the US territory of American Samoa. In the opening prologue, a zany local priest (Taika Watiti) relates the story of how the island’s official football was humiliated in the FIFA World Cup Finals, unable to score one goal as they lost by over thirty points at the start of the new century. Now, it’s 2014 and things have gotten worse. So bad, that the team’s manager Tavita (Oscar Kightly) pleads with FIFA to assign a new coach for them. On the other side of the world, that organization is “laying down the law” to a maverick Dutch-American coach Thomas Rongen (Michael Fassbender). He’s given one chance and is sent to American Samoa, much to his aggravation. Once he settled into the ramshackle digs provided for him, a boozy Rongen meets the bumbling, fumbling group of players. One of the few talents is Yaiyah (Kaimana), an energetic, but often tardy fa’afafine (local word for transgender). The duo clash immediately but eventually unite to recruit some promising natives (including a police officer) and eventually hatch a plan to sign up former members of the previous championship squad. Even with this “new blood” can the disgraced foreign coach bring glory to the little island by sending their team to “the big show”?

As the struggling island’s “last, best hope” Fassbender puts a snarky spin on the “second chance leader” role and elicits big laughs after a career of dark, brooding characters. Soon after his arrival, Rongen makes little effort to hide his annoyance at being “banished’ to this “off-the-grid purgatory”. Throughout the tale, Fassbender shows us how the coach begins to sober up after his long angry drunken stupor as he resolves to do “one good thing’ in bringing a sense of joy back to the team. There are the makings of a wacky comedy duo as Fassbender trades barbs and burns with the hapless Tavita played with loopy “sad sack’ delivery by the engaging Kightly. But the real sparks fly when the compelling Kaimana steps “up to the plate” (I know, wrong sport) as the force of nature Yaiyah. Through struggling with their decision (crippling pain from the transition medication), Yaiyah yearns for respect from Rongen after becoming a nurturing influence on the whole team. Aside from the terrific physical performers on the field, the film has a superb comic cast on the sidelines. Elizabeth Moss gets to display her comic “chops” as Rongen’s ex-wife turned boss (she’s on the FIFA board), who still encourages him to succeed while rebuffing his attempts to “rekindle the spark”. Her affections are courted by another co-worker played with smarmy arrogance by the great Will Arnett, always a hilarious comic jerk. As a sort of human “lapdog” is the great Rhys Darby who darts in and out of scenes to toss in off-kilter commentary. Oh, speaking of which, Waititi’s one-man Greek chorus, as the priest/narrator enhances every sequence as he simplifies things for us, the “non-natives”.

Oh, and Waititi does triple duty in that role while directing and co-writing the script with Iain Morris which is inspired by the 2014 documentary of the same name. Much as with his previous films outside the MCU, he populates the story with eccentric characters who are cluelessly confident in their pursuit of happiness, blithely unaware of their shortcomings. It’s evident before the games begin, as the team fails at intimidating opponents during pre-game tribal chants (a true cluster…). Waititi enjoys showcasing their foibles and failures, but still conveys an affection for these real underdogs, balancing the mockery with admiration. Though we feel we know the “uplifting” final moments, a few funny “curves” are thrown to keep the audience as off-balance as the goalie. The only real problem is that the film feels a bit “top-heavy”, with the biggest gags occurring in the opening half hour (the “boardroom intervention” is a riot) before the sports story tropes kick in before the dreaded midpoint lull of most modern movie comedies. But thanks to the terrific cast, there are more hits than misses, so for a different spin on athletes from an exotic culture, fans may want to leave those TV sports channels for the farce and fun of NEXT GOAL WINS.

2.5 Out of 4

NEXT GOAL WINS is now playing in theatres everywhere

THE KILLER (2023) – Review

I’ve had them and I’m sure you’ve had them. Lousy days at work will happen at some point and many times it’s our fault. We’ve “scrooched the pooch” as they say, made an error, perhaps a miscalculation or even an uncrossed”t”. What’s the worst that could happen? Well, we could get fired or perhaps suspended or given a “stern warning” maybe along with a verbal “dressing down”. Yes, that’s with most regular jobs, but what if your profession is life or death? But more toward the latter if you’re a “murder merchant”, or a “gun for hire”. That’s at the heart of a new thriller from one of the most inventive filmmakers of the last few decades. He gives us a look at a “very bad, no-good day”, leading to several wretched weeks in the life of THE KILLER.

After a sprightly credit sequence highlighting the “tools of his trade”, we meet a highly-paid professional hitman (Michael Fassbender), whose real name is a mystery to us (and probably to many of his “hires”). His latest gig is in Paris (nice) but most of his time is spent waiting…and waiting in an “under-renovation” office space in a building across from a swanky hotel. The days pass so very slowly until his “target” finally arrives. The victim is in the sites of his top-of-the-line rifle, the trigger is pulled, and things “go sideways”. The hitman makes a mad dash into the Paris streets to the airport. There’s a heated cell phone exchange in which his “agent” says he’ll try to “make things right” with”the client”. After a stopover in Florida, “the killer” makes his way to his secluded estate in the Dominican Republic, arriving moments after some person or persons trashed the place, leaving someone near death. It’s then that the hitman becomes a detective, zeroing in on the “invaders”, as he “burns his bridges’ to exact his revenge. Can he find those responsible before he becomes a target? And can he ever really leave his past, and “the life” behind him?

The lead role provides a superb showcase for Fassbender, one of the screen’s most engaging actors. The title character doesn’t have many spoken lines directed at others, but his “stream of consciousness” narration not only guides us in his planning and preparation but offers terrific reflections, often very funny, on humanity in general. While making his way around the globe (literally)Fassbender does his best to be unnoticeable (with awkward hats swallowing his face) which gives his full “reveals’ a greater impact as his piercing glare bores into the sole of those in his gaze. Ths film’s other “big name” is probably Tilda Swinton as The Expert” who falls into The Killer’s vision. For a time she believes her air of refined elegance will charm him until we see her accept her “fate” with a resigned dignity. That’s unlike her partner, Sala Baker as “The Brute”, who proves to be the savage destructive force that may thwart The Killer’s quest. Charles Parnell is terrific as Hodges, “The Lawyer”, who truly believes that his logical arguments will force The Killer to spare him and come back into “the fold”. Ditto for Arliss Howard as the befuddled Claybourne AKA “The Client”, who realizes that his greed has led him to his probable doom. There’s also strong supporting work from Kerry O’Malley as the fluttery aide to Hodges and Gabriel Polanco as the “caught in the crosshairs” cabbie.

For director David Fincher, this film marks a return to his roster of stylized thrillers begun almost thirty years ago with SE7EN, after his most recent biopic MANK. But unlike those earlier films, this tale is “stripped down” to present a taut thriller via his frequent collaborator Andrew Kevin Walker’s adaptation of the acclaimed graphic novel by Alexis Nolent and Luc Jacamon. Fincher’s “rat-a-tat” use of quick editing (foreshadowed in the splendid opening titles enhanced with 60s retro graphics) immediately pulls us in. It even makes the lengthy “stakeouts” full of foreboding menace. The excellent location shooting gives us a peek into the title character’s skills in any setting from the tropics to the chill of Chicago. All of this is ably accented by the rich score by other Fincher “regulars” Trent Reznor and Atticus Ross. Yes, the tension level is high, but there are great dollops of dark humor throughout (loved the roster of phony, but familiar aliases). This should stand alongside the great hitman thrillers like THE MECHANIC and DAY OF THE JACKAL, while also giving a nod to Soderbergh’s HAYWIRE. Fans of flashy crime capers, and especially Fassbender, should set their sites on THE KILLER.

3 out of 4

THE KILLER is now playing in select theatres

Watch David Fincher’s THE KILLER, Starring Michael Fassbender, In Select Cinemas October And On Netflix November 10

Director David Fincher (THE SOCIAL NETWORK, GONE GIRL, MANK) returns with his upcoming film THE KILLER. After a fateful near-miss, an assassin battles his employers and himself on an international manhunt he insists isn’t personal.

Starring Michael Fassbender, watch the brand new trailer now.

The film also features Charles Parnell, Arliss Howard, Sophie Charlotte, and Tilda Swinton.

THE KILLER is based on writer Alexis “Matz” Nolent and artist Luc Jacamon’s 1998 graphic novel. Andrew Kevin Walker, who last collaborated with Fincher on Se7en, wrote the film’s screenplay. Trent Reznor and Atticus Ross will compose the score.

Following its premiere at the Venice Film Festival on September 3, THE KILLER opens in select theaters in October and Netflix on November 10.

https://www.netflix.com/title/80234448

The Killer. Michael Fassbender as an assassin in The Killer.. Cr. Netflix ©2023

The Killer. Michael Fassbender as an assassin in The Killer. Cr. Netflix ©2023.

The Killer. Michael Fassbender as an assassin in The Killer. Cr. Netflix ©2023.

Director Taika Waititi Kicks Off Toronto International Festival Lineup With World Premiere Soccer Comedy, NEXT GOAL WINS Starring Michael Fassbender

The cast of NEXT GOAL WINS. Photo by Hilary Bronwyn Gayle. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

TIFF announced today that Taika Waititi’s Next Goal Wins, a soccer comedy directed and co-written by the New Zealand filmmaker, will make its World Premiere at the 48th edition of the Toronto International Film Festival (September 7–17).

“We’re thrilled to welcome Taika back to the Festival and share his audacious take on the most popular sport in the world,” said Cameron Bailey, CEO of TIFF. “Next Goal Wins is perfect for TIFF fans of the beautiful game looking for their football fill until the 2026 World Cup arrives.”

The TIFF Ebert Director Award recipient was last at the Festival in 2019 with the World Premiere of Jojo Rabbit. The film went on to win the TIFF People’s Choice Award and an Academy Award for Best Adapted Screenplay.

Taika Waititi on the set of NEXT GOAL WINS. Photo by Hilary Bronwyn Gayle. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

Next Goal Wins stars Michael Fassbender, Oscar Kightley, Kaimana, David Fane, Rachel House, Beulah Koale, Uli Latukefu, Semu Filipo, Lehi Falepapalangi, with Will Arnett and Elisabeth Moss. The heartfelt sports comedy is based on the 2014 documentary of the same name and follows the American Samoa soccer team, infamous for their brutal 31-0 FIFA loss in 2001. With the World Cup Qualifiers approaching, the team hires down-on-his-luck, maverick coach Thomas Rongen (Fassbender) hoping he will turn the world’s worst soccer team around. 

Next Goal Wins is a Searchlight Pictures film and opens in theaters November 17, 2023.

More Festival details will be announced in the coming weeks. Tickets for TIFF 2023 go on-sale to TIFF Members by level beginning on August 18. For more details visit tiff.net/join. The full Festival schedule will be released in August.

Watch The New Trailer For Taika Waititi’s NEXT GOAL WINS Starring Michael Fassbender

The cast of NEXT GOAL WINS. Photo by Hilary Bronwyn Gayle. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

Searchlight Pictures has released a first trailer for NEXT GOAL WINS.

Directed by Academy Award Winner Taika Waititi (Jojo Rabbit, Thor: Ragnarok), NEXT GOAL WINS follows the American Samoa soccer team, infamous for their brutal 31-0 FIFA loss in 2001. With the World Cup Qualifiers approaching, the team hires down-on-his-luck, maverick coach Thomas Rongen (Michael Fassbender) hoping he will turn the world’s worst soccer team around in this heartfelt underdog comedy.

The cast includes Michael Fassbender, Elisabeth Moss, Oscar Kightley, Uli Latukefu, Rachel House, Kaimana, David Fane, Beulah Koale, Chris Alosio, Rhys Darby, Taika Waititi and Will Arnett.

The film’s score is from composer Michael Giacchino.

NEXT GOAL WINS opens only in theaters November 17th.

Oscar Kightley and Michael Fassbender in NEXT GOAL WINS. Photo by Hilary Bronwyn Gayle. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

Michael Fassbender and Kaimana in NEXT GOAL WINS. Photo by Hilary Bronwyn Gayle. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

Taika Waititi’s Next Film NEXT GOAL WINS About American Samoan Soccer Team Begins Production

Fox Searchlight Pictures announced on Thursday that it has acquired Worldwide rights to NEXT GOAL WINS, the new feature from director Taika Waititi (JOJO RABBIT, THOR: RAGNAROK). The film began production last week in Honolulu, Hawaii.  NEXT GOAL WINS is written by Waititi and Iain Morris, and stars Michael Fassbender (STEVE JOBS, 12 YEARS A SLAVE) and Elisabeth Moss (The Handmaid’s Tale, US).

Waititi is producing alongside Jonathan Cavendish and Garrett Basch, with Andy Serkis, Will Tennant, and Kathryn Dean serving as executive producers.  Additional producers include Mike Brett and Steve Jamison, who directed the 2014 documentary from which the film is based. 

The film will be overseen by Presidents of Production for Film and Television David Greenbaum and Matthew Greenfield, SVP of Production DanTram Nguyen, and VP Production Taylor Friedman.

NEXT GOAL WINS tells the story of the American Samoa soccer team,  who suffered the worst loss in World Cup history, losing to Australia 31-0 in 2001. With the 2014 World Cup approaching, the team recruits a down on his luck, maverick coach (Fassbender) to help turn their fate around.

Rounding out the ensemble cast are Oscar Kightley (Aroha Bridge, THE BREAKER UPPERERS), David Fane (The Barefoot Bandits, Westside), Beulah Koale (Hawaii Five-0,  ENEMY WITHIN), Lehi Falepapalangi (Future Man, Hawaii Five-0), Semu Filipo (Harry, SHOW OF HANDS), Uli Latukefu (ALIEN: COVENANT, MARCO POLO), Rachel House (MOANA, THOR: RAGNAROK) and Kaimana in her debut role.

Waititi stated, “I’ve just started production on my next film, NEXT GOAL WINS. We have such an amazing cast and crew behind this film, and I’m stoked to be partnering once again with the lovely people at Fox Searchlight Pictures.”

“Taika is an incredible talent and master at bringing honesty and humanity to the surface in any story.  We are thrilled to be working with him again on such an extraordinary true story of perseverance in the face of defeat. He has brought together a terrific group of actors, craftspeople and sports players to bring this unique story to life,” said Greenfield and Greenbaum.

NEXT GOAL WINS is an Imaginarium / Defender / Garrett Basch Production for Fox Searchlight Pictures.

DARK PHOENIX – Review

Finally caught your breath from the epic superhero showdown from six weeks ago? Well, you’d better be since another big batch of Marvel characters is battling it out at the multiplex this weekend. So, what’s the big difference? For one thing, many of them are barely out of their teens. Oh, and their powers are due to genetic mutations. Yes, after a three-year hiatus the Marvel mutants return to the big screen, but they’re not part of the Marvel Cinematic Universe…yet. Twentieth Century Fox snapped up the screen rights in the last century(!), so this is the seventh entry in a film franchise that began way back in 2000 (along the way there’s been two spin-off series, with Wolverine and Deadpool, five more flicks). Plus this is really a prequel with many younger actors taking over the roles from that 19-year-old initial adventure. Hopefully, any confusion will be cleared up as we dive deep into what may be the finale of the franchise, based on the acclaimed comic story arc that introduced DARK PHOENIX.

At the story’s start, we’re bopping through a couple of decades. First, a childhood trauma brings grade schooler Jean Grey to the attention of scientist/school founder Professor Charles Xavier (James McAvoy). A quick cut and we’re in 1991 as the space shuttle Endeavor is launched into orbit. Charles is monitoring the flight with NASA back at his School for Gifted Youngsters. When the shuttle comes in contact with a swirling cosmic energy cloud that begins to tear it apart, Charles sends out a rescue team: Storm (Alexandra Shipp), Quicksilver (Evan Peters), Nightcrawler (Kodi Smit-McPhee), Cyclops (Tye Sheridan) and the now-grown Jean (Sophie Turner), all supervised by Raven AKA Mystique (Jennifer Lawrence). Things turn deadly when the X-Jet (now really a rocket) arrives for the rescue of the crew. Jean is engulfed by the cloud, yet she somehow survives. Back at the school, she’s examined by Hank McCoy AKA Beast (Nicholas Hoult), who gives her a clean bill of health though he notices some odd energy pulses. But it’s Charles who is most alarmed as he detects that this force is revealing too many of Jean’s childhood memories and amplifying her rage. When she lashes out at a post-mission party and flees, the X-team are in pursuit. The encounter ends tragically and eventually brings Erik AKA Magneto (Michael Fassbender) out of hiding at his island commune/sanctuary he shares with other outcast mutants. Also tracking down Jean is the mysterious Vuk (Jessica Chastain), who may be part of another group wanting to possess the power now residing in the young woman (now dubbed Phoenix). The big question is: will she be the planet Earth’s defender or its destroyer?

Without the constraints of a time travel plot, nor a big baddie (Apocolypse), or even a role (lead or cameo) from fan-favorite Wolverine (this being the first completely Hugh J-free X flick), the young cast gets to explore the drama that springs from these complex relationships. Straight from the finale of that cable TV dragon show, Turner expertly portrays both sides of the conflicted Jean Grey, going from unpredictable unstoppable monster to a fragile teen trying to cope with a past filled with tragedy and deceit. Much of the latter comes from McAvoy as the controlling mentor who twists the truth for his ideas of justice. His foe (and brother who “takes the p*#s out of him”) is the always compelling Fassbender who brings a touch of nobility and passion to the comics supervillain. Lawrence conveys a sense of sad frustration as reformed baddie now pseudo-co-parent Raven. Sheridan is a stoic, devoted beau as Cyclops Scott. Although they’re under tons of makeup, Hoult and Smit-McPhee are excellent as the more outwardly odd mutants, Beast and Nightcrawler. Unfortunately, the guy who seems to be having the most fun with his abilities, Peters as Quicksilver (a scene stealer in the last two installments) is side-lined much too early (now he needs a spin-off). And the incredibly gifted Chastain is wasted as a one-note ethereal baddie who spends much of her limited screentime as the whispering demon to Turner, all while glaring under a white “fright wig”.

First-time director, though a long-time producer and writer on this series, Simon Kinberg captures much of the emotional power of the original comics saga by Chris Claremont, John Byrne and the sorely-missed Dave Cockrum (Simon wrote the adaptation), much more than in the previous screen treatment in the much-reviled X-MEN: THE LAST STAND. And though it’s one of the better flicks in the series (miles above the last dreary, dismal slog from 3 years ago), it still lacks a real coherent plot path, veering off for some alien menace, then stopping dead to denounce the bigoted, evil world at large just before the next big action set piece. Most of these are very involving, making great use of top of the line CGI, but edited with a “jerky’ pace, speeding up then slowing to a crawl, with the camera spinning around so fast we have a tough time figuring out who’s who, and who’s where. The biggest fault with the flick may be that of timing (something out of Kinsberg’s hands) because its original release date was last November. Since then we’ve seen a horrific 1970s car crash in the prologue of another superhero flick (SHAZAM), and just six weeks ago we were treated with a superhero battle finale capped with a noble hero making the ultimate sacrifice. Plus it was packed with charm and humor, elements sorely lacking in this X-adventure. But if this is indeed the end of the series (Disney’s purchase of Fox went through, so the folks at Marvel Studios could relaunch the “mutant movies” soon, which may have prompted a clever “inside joke” during a big battle), it’s going out on a fairly high note (though it lacks the giddy fun of X-MEN: FIRST CLASS and the “grand opera” of X-MEN: DAYS OF FUTURE PAST), while even tossing in the first movie appearance of a truly obscure character who epitomizes the tacky 70s (hint, the initials are DD, but it’s not Daredevil nor Devil Dinosaur). So we wave goodbye to that “fancy-schmancy” elite school in the last frames of DARK PHOENIX with a strong feeling we may return once more.


3.5 out of 5