X-Men: Dark Phoenix 4K UHD [Blu-ray] [2019]

Great

was in good condition

This flic was 10X what "Last Stand" was, but it's still not really up to the standards of the original "The Dark Phoenix saga" If you haven't read the comic you'll love it far more than if you have.

I loved the movie even if the critics didn’t. I thought it was well done the actors were good. The only thing I would say bad is that they changed the ending and the way she looked when she was full on Phoenix cause of Captain Marvel even though dark Phoenix was done before they started capt marvel. And cause if the merger and made them put a 2 movie into 1 so we didn’t get a lot of background on Jean Gray

It Wasn't one of the best movie

Love all X-Men movies...thank you for a great product and sales experience!

Worth the $30, 4k Utra disc & blu ray (no digital copy)

There has been a lot said about Dark Phoenix, aka X‑Men: Dark Phoenix, often labeled the worst film in the nearly twenty‑year Fox X‑Men franchise. I am a fan of these movies, though even the best of them (X‑Men: First Class, X2, X‑Men: Days of Future Past) have tonal inconsistencies, wild characterizations (or re‑characterizations), cast changes, and sometimes employ logic that strains even comic‑book plausibility. Yet, despite these limitations, many of these films have risen above their flaws and remain, years or even decades later, entertaining, notable, and thematically relevant in their subtext. ​ Dark Phoenix, however, is the last, most maligned, and generally considered the weakest film in the series. And let’s be clear here: these are movies, not capital‑A “Film.” They are not high art, and that is fine. Even so, a movie—yes, even a superhero movie—can have a richly textured narrative, which several entries in this franchise do, sometimes remarkably well. Dark Phoenix, the second attempt to adapt the legendary “Dark Phoenix Saga” from Chris Claremont’s era of X‑Men comics in the late 1970s and early 1980s, ultimately misses the mark. ​ Most critiques highlight the mishandling of Jean Grey and the missed opportunities in her arc, and those criticisms are valid. However, the greater missed opportunity, in my view, is Charles Xavier. Before going further, the rest of this review hinges on a particular reading of Charles that is strongly influenced by the younger iteration played by James McAvoy. I also understand—and am completely fine with the fact—that not all viewers will interpret the character this way. ​ Since X‑Men: First Class, I have read Charles as a deeply closeted gay man who meets and falls in love with the great love of his life, only to be unintentionally crippled and then abandoned by him. Yes, that man is Erik/Magneto. There is a lot of not‑so‑subtle subtext in their interactions: gentle touches, protective gestures, pointed visual symbolism, and a long history of interviews in which the actors themselves have commented—sometimes cheekily—on the nature of the relationship between the characters (and occasionally between themselves, but that is another topic for another day). ​ By the time of Days of Future Past, Charles reads as a broken‑hearted man spiraling from chronic physical pain, the loss of his ability to walk (temporarily alleviated by Hank’s serum), the abandonment by the man he loved, and the estrangement from the woman (Raven/Mystique) he loved like a sister. We see some self‑acceptance, healing, and forward motion in Charles in Days of Future Past and Apocalypse. The Charles we meet in Dark Phoenix is more arrogant, and he is called out on that arrogance by Raven, Erik, and Jean at various points in the film. ​ The problem is that none of these characters seem to exhibit the slightest compassion for him. Let’s take Raven—the woman he took into his home, loved, supported, and who ultimately betrayed him in Cuba, leaving him bleeding and newly paralyzed. She confronts Charles for basking in the X‑Men’s celebrity, his direct line to the president, and his refusal to put himself in danger. In doing so, she seems willfully oblivious to the fact that the man she is addressing uses a wheelchair and likely lives with chronic pain. He is also a man who opened his home as a safe haven and school for her and countless others, apparently living a solitary life devoted to the very people now attacking his character. ​ Now, of course, there is no definitive proof that Charles is gay; this is a viewer’s interpretive choice. But for the sake of this review, let’s accept that reading. If Charles is a closeted gay man in the early 1990s who has had no romantic connection, no real love since Erik, and who has devoted his life to the safe integration of mutants, then his “basking in the glow” of the X‑Men’s acceptance looks different. Raven, who has known him since childhood, would likely have realized that Charles is gay, lonely, probably still pining for Erik, and has no life outside the X‑Men. So yes, he is basking in the glow—but hasn’t he at least earned that by this point? ​ This is a huge missed opportunity in the film. Instead of acknowledging any of this—whether through a line of dialogue or a brief moment of recognition—and then having a difficult but empathetic conversation about her grievances, Raven goes at him hard from the start. In doing so, she ignores what has likely been a painful, lonely, and profoundly isolated life for Charles, flattening him into an arrogant authority figure rather than engaging with the complex, wounded man the franchise has spent years building. McAvoy does manage to carve something compelling out of what is, frankly, a thin and often contradictory script. Even when the characterization undercuts years of development, he plays Charles as a man who is simultaneously proud of what he has built and absolutely terrified of losing it, layering arrogance over exhaustion and grief in a way the writing rarely supports. His physical stillness—confined to the chair, often framed alone—contrasts with the emotional volatility flickering in his face and voice, hinting at the lonely, closeted, deeply wounded person the film refuses to fully acknowledge. In a better script, that performance might have been the spine of a powerful character study about trauma, guilt, and the costs of heroism; here, it feels like McAvoy is constantly patching holes, smoothing over abrupt turns, and retrofitting emotional logic that simply is not on the page. When the plot lurches from set piece to set piece, he grounds scenes with small, human choices: a glance that lingers too long on Erik, a brittle half‑smile when the X‑Men are praised, a flash of panic when control slips from his grasp. Those choices keep Charles recognizable even when the story treats him more as a plot device or a symbol than as a person. In the end, Dark Phoenix fails Charles Xavier, but McAvoy never does; the tragedy is that his nuanced, emotionally specific work is trapped inside a film that cannot rise to meet it.

Gute Qualität vom Video. Außerdem gibt es keine Werbung anderer Filme anfangs Video, was für mich persönlich sehr positiv ist. Schnelle Lieferung.

conforme à la demande

J'ai beaucoup aimé ce film que je n'avais encore jamais vu. Cependant, ils ont changé certains acteurs qui ne sont pas les mêmes que dans les films précédents et cela, personnellement me dérange toujours un peu lorsqu'ils changent les acteurs mais sinon, je recommande.

Another great film in the men series Action packed !! Great family adventure film

10/10 Rotten Tomatoes... Flawless Victory.