Before I start typing passionately, I seriously think about whether it's worth taking so seriously a four-part finale that the director and scriptwriter don't take seriously.
But after thinking about it, I still wrote it, because I really don’t understand why the director and screenwriter are so self-sacrificing, is it because the brain is flooded, or is there really no money, or is the old fox bought anyway? ? ?
In the beginning, Comrade Simon Kinberg, the screenwriter of the third X-Men 3: The Last Stand, was always haunted by the failure of X3, and hoped to use this to rectify the name of Dark Phoenix Saga in his heart. Now it is estimated that all the audiences and film critics who have seen this film are full of question marks: Brother, are you kidding me? ? ?
Warning: The following is full of spoilers!
I think this is a film that passers-by think is pure rotten, and fans have a strange feeling.
The whole film is less than two hours, and there is a feeling that I can't stop pressing the fast-forward button, or it seems that I can't stop after eating Xuanmai.
It's the kind of film that if every scene, every scene, and every plot, originally half a minute, in-depth talk for five minutes, and the original rotten dialogue, if you carefully sculpt it, then maybe this is still a good film, if you add a little political connotation or even May be thought provoking.
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The motif of the X-Men has always been whether mutants (or, in other words, mapping a certain type of special group) should live in peace with humans or believe that they are the ultimate direction of evolution, and simply take the initiative to dominate humans.
The latter is relatively easy to understand. How can the former be realized, and why can humans be convinced that these mutants who are not of our race will not hurt them?
The answer given by the dark phoenix is that the X-men are dispatched by the gov, hard-working and even putting the interests of mankind above their own. (Charles said yes to Raven's questioning at the beginning of the film, and I was immediately chilled because it was destined to be a movie that made Charles extremely ooc for the plot.)
In fact, what is the key point that the two mutant leaders, Charles and Erik, have their own fans and are at odds with each other? That is, they are all fighting for the benefit of the mutants. It's just that Charles' views are of course better for humanity.
When Charles no longer fights for the interests of the mutants, and even orders the X-Men to take risks and risk the lives of mutants to save mankind, and appears in the gov spotlight and enjoys applause and cheers, then this Charles Xavier is obviously far from this role. The essential cores are far apart.
The writer interprets this as Charles' conceit, saying that his conceit is in control, yes, you can write "Charles can make mistakes", and even around the end of April I said, I actually want to see a darker Charles, the best It was to see him questioning his own ideas.
Because in fact, when you think about it seriously, the reason why the peace faction can exist is not because the existence of the main war faction makes gov feel that it is necessary for the peace faction to fight for it? Therefore, Charles and Erik are actually indispensable. If either faction really has the upper hand - if Charles has the upper hand, then it is bound to be like the dark phoenix, and it will be necessary to continuously vote for the gov, and even be included in the gov, if Erik has the upper hand The upper hand is obviously the end of human beings, let's not say anything.
I've been wondering an interesting question, will Charles in the new trilogy realize this (there's no Charles without Erik)? In the first battle, reversing the future to Apocalypse, they all parted ways at the end, and the first two parts were more divergent. When it came to Apocalypse, Erik almost meant that he had to leave. Dark Phoenix has an interview. The actor said that Erik has compromised. He thinks that since that is the case (I don't want to cooperate with gov, and you don't let me hit humans), then I believe in the "hope" you said, and believe that humans do not So bad, just circle a place and play by yourself, so there is the island country Kenosha.
I think the end of the apocalypse seems to have hinted that Erik realizes that only the existence of a war faction like himself can make peace factions such as Charles better survive, and they seem to have reached a temporary balance. However, Qin is the powerful force that breaks the balance.
But did Charles realize that the two of them needed to strike a balance for the mutants to survive? Has Charles ever shaken his pacifist beliefs for a moment?
Originally, arranging for him to watch his grown-up sister Raven get killed by the out-of-balance Jyn was a good opportunity for Charles to question his own ideas. Questioning is not for overthrow, but for sublimation, in order to give the tetralogy a more reasonable and settled down ending.
I'm about to move out of the comics that Charles wrote to the squad when he was disheartened and wanted to close the school after failing to save his son David.
When I write this, I want to complain loudly, screenwriter, can you take a couple of sentences from here? Was Raven's death not enough for Charles to reflect? Still need Hank to smash the bottle in front of him without saying I was wrong?
I failed, as a principal, as a teacher, as an older brother.
I used to think that with a little mind trick, Jean's fragile mind could be rebuilt for the sake of her long-term happy future, but now I realize I was wrong.
I used to think that all mutant abilities could be controlled by willpower and a certain amount of training, and only "control" is the best way, and this is what I have always taught my students, I now realize that I was wrong .
I used to think that I would always be more mature than my sister Raven, able to see the big picture, I thought genuine emotions trumped everything, I thought I could do everything by manipulating my mind, and now I realize I was wrong.
You can come up with such a monologue or voice-over at random, whether it's at the end or when communicating with Hank, it's more in line with Charles' character and more logical. Even if Hank and Charles break up, Hank can choose to leave in anger.
Even if it's hard to show grief for Charles at Raven's funeral, it makes sense. After all, the deepest grief does not have to be expressed through tears.
Or refer to the words in the comics:
Raven's death proves what an incompetent brother I am. Jean's out-of-control is a testament to what a miserable teacher I am.
I neither took good care of my sister, nor lived up to Jean's trust to shape the hearts of the next generation.
In the final analysis, Dark Phoenix just has a rough idea and direction, and it goes into battle without polishing at all, which will give people the feeling of "Hey, I seem to accept this setting, but what's wrong with it".
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The main two pieces of polishing, one is the lines.
It was also said earlier that the writing was too lousy and straightforward, with no dry feelings at all, and it was completely unable to make the audience empathize. It's better to just grab a comic and copy it than this script.
The other is the plot.
In fact, the most original plot settings are understandable, but why they appear abrupt is because the expression is problematic or too perfunctory.
1. Charles hides the fact that Jyn has been abandoned by her father and "builds a wall" to keep her in control of her powers.
This passage is understandable if you dig deeper into Charles' tangle at that time. Or even if you describe this episode that has always been something that Charles has been brooding about, you can kill it with a memory.
2. Charles and gov are close, and he can also describe his struggles, don't always give the shots of spring breeze.
The setting of "Charles can make mistakes" is fine, but it needs depth, even if you set up a gov who has nowhere to go to ask for xmen to be dispatched, and Charles is emotionally moved to think that this is an opportunity for peace? (need to foreshadow the plot in front)
3. Jyn threw Erik out and was suddenly moved by Charles' words.
This is a routine plot, understandable, but wouldn't you flash back a few warm scenes of them? You must know that one second, Qin was still forcing Charles to walk (by the way, this is really a shocking scene, the most emotional scene in the film), how can he be influenced the next second? No matter how bad it is, you can put some lenses that Zha Zhen cares about Qin at the beginning, and don't be so plastic, okay? Even if Charles chats with Raven about Jean and says I'm worried about her.
4. Erik's plot has the least flaws. It is understandable to kill Qin, but don't write it just for Raven, even if Qin has been brainwashed by the villain at that time, do you think Qin is a threat and has to be eliminated for the sake of the peace of the earth or Kenosha?
A few words on the train can turn killing Qin into saving Qin, you can bring in the power of gov, gov has seen the power of Qin and may threaten it with Kenosha, plus looking at the words of Qin Benshan, I think it is OK to keep the Qin Check and balance/and be saved.
This part can be saved by changing a little bit. If the plot line is relatively short, Erik also jumped back all day anyway (?) Everyone should be able to accept it.
PS: The most handsome shot of Lao Wan in this film seems to be a combination of the first battle and the reversal of the future...
5. Qin's sacrifice is an inevitable ending, but do you need to spend some ink to describe the warmth of the x family? Throughout the whole movie, there is no warmth at all, it's all duang duang duang who are taking the plot!
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I also have to say a few huge slots, which are the kind of slot or flaws that cannot be ignored.
1. Raven's death.
Even if the plot kills, you have various ways to make Raven die, why did Charles stop Hank from shooting and let Raven try? Raven is unarmed, so can't he accidentally get hurt in the explosion of the piano, and now such a quiet explosion because the time is too long, it is easy for the audience to have time to think and think about what this is.
2. The scene where Hank confronts Charles after Raven's death and makes him admit he was wrong.
I've said it before, but I'm indignant that Charles actually remembers seeing Raven for the first time here, and his tone is still brisk. Did you make a mistake, boss, you should admit that I was wrong at this time, but I believe that Qin can still be saved. You and your sister have an unbelievably plastic relationship, so let's not talk about how plastic it was during the burial. Not as good as Erik.
3. After Charles was hung up by the gov, he was actually down and out of alcohol? What is this reversal coming back? Characters should improve a bit!
4. Hank and Erik talk.
This is the rough dialogue that we all love her. Erik and Raven's relationship can't be simply and crudely attributed to one love. It is completely possible to dig deeper and talk about Raven from Erik's point of view.
This is actually a very interesting point, because in the first battle, Erik made Raven identify with himself for the first time, which Charles hadn't done for so many years. That's why Raven has always had a different feeling for Erik. In fact, in the first battle, the screenwriter hinted that there was something between Raven and Erik, but it was cut off later.
To reverse the future, when Erik showed his ruthless side, that very few mutants (such as Raven) could be sacrificed for the benefit of most mutants, Raven disappointed Erik.
In Apocalypse, Raven was the first to go to Charles after learning about Erik, partly because of plot needs, and partly because Raven had put down the personal grievances of reversing the future period, and she really cared about Erik as a friend.
Because as Raven said to Hank in Dark Phoenix, we are all survivors of the first battle, and we should move on.
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This may be the theme of Dark Phoenix, not a political discussion at all, or the fate of mutants.
It just tells you that you should move on from the trilogy that opened in 2011.
Comrade Simon Kinberg said I needed Charles to retire, so I needed a reason.
Even if it means I need to make reshoots, it means I need to recycle and reverse the future lines fancy a game, go easy on you, it means I need to let Erik say affectionately that you saved me and you gave me a home.
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you give me a home.
In fact, the worst thing about a bad movie is that when you seem to want to express your feelings for the nine years from 2011 to 2019, you are too lazy to say it, because the finale has no feelings at all.
Erik and Charles have different ideas that allow each other to exist, and the reason why they have different ideas is precisely because they met each other and achieved each other. They are destined to be very meaningful in each other's lives.
No matter what the ooc of this part is, in my memory, Charles is still the one who insists on emphasizing hope and believing in the existence of goodness and beauty in human nature. He may go astray, but he will sincerely apologize for his fault and will not give up hope.
Erik said in Dark Phoenix, I've always had revenge, but I realized that no amount of killing would bring back peace. In Apocalypse, Erik died of his wife and daughter. Although it was a bloody plot kill, it also proved that your past will always get back and haunt you. For him personally, the final peace of mind was a happy ending.
It's been said that they are two sides of the same coin, so when finally, when all is quiet, it's time for the two sides of the coin to come together.
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So I "slowly" finished the movie in my head, filled in the gaps with the clips that should be added, and said sincerely:
Goodbye old fox. Bye bye X-Men movies.
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