Back Issues [Crossover Crisis]: The Uncanny X-Men and The New Teen Titans

In April of 1985, the first issue of the ground-breaking, twelve issue Crisis on Infinite Earths (Wolfman, et al, 1986) was published. This event, which was easily the biggest in DC Comics at that point (and for many years), saw the destruction of the “Multiverse”, an infinite number of parallel worlds, and the awkward establishing of one unified DC canon. Over the years, DC have returned to this concept again and again, retconning it, expanding upon it, and milking it to the point of excess but that doesn’t change how influential this massive crossover was. To celebrate this momentous event, I’m looking at multiversal crossovers every Wednesday in April in an event I’m calling “Crossover Crisis”.

Story Title: “Apokolips… Now!”
Published: January 1982
Writer: Chris Claremont
Artist: Walt Simonson

The Background:
As I’ve mentioned on a couple of occasions, DC Comics and Marvel Comics have had a surprisingly collaborative and amicable relationship over the years that has led to some inter-company friendships, homages, and co-publications between the two comic book giants. By 1982, both Marvel’s Uncanny X-Men and DC’s Teen Titans were seeing a resurgence in popularity thanks to both teams featuring an exciting new creative and character line-up. Over in Marvel Comics, writer Chris Claremont had revitalised Marvel’s Mutant team by introducing a group of diverse and multi-cultural new characters while the New Teen Titans, under the pen of Marv Wolfman, had been aged up and also included some of the title’s most synonymous characters. With so many similarities between the two teams, and considering the success of the two titles were selling at the time, a crossover between the two was a smart business move for both parties.

The Review:
“Apokolips… Now!” begins at the Source Wall, an impossibly large stone wall that represents the edge of the known universe and which is comprised of the legendary Promethean Giants, who were turned to stone for trying to breach the boundaries of the cosmos. There, we find Metron, the generally impartial intellectual of the New Gods, conversing with all-mighty Darkseid, who gifts him with the “Omega-Phase Helmet”, a highly advanced crown that allows Metron’s Mobius Chair to achieve the impossible and penetrate the great stone wall in order for them both to achieve their heart’s desire (Metron for knowledge and Darkseid for power).

A normal day at the X-Mansion is interrupted by a vision of Jean.

The story then jumps to Westchester, New York where Professor Xavier’s X-Men are engaging in a training session within the Danger Room, an exercise that grates on Logan/Wolverine’s patience despite his respect for the professor. After impressing Xavier with their teamwork, the Mutants retire for dinner and the story takes the opportunity to catch us up not only with the current X-Men roster and their powers (the aforementioned Wolverine, Scott Summers/Cyclops, Ororo Munroe/Storm, Piotr “Peter” Rasputin/Colossus, Kurt Wagner/Nightcrawler, and Kitty Pryde/Shadowcat) but also the tragic rise and downfall of Jean Grey, who attained incredible cosmic powers as the Phoenix that eventually corrupted and consumed her. The X-Men’s memories of Jean are extracted by Darkseid and the Phoenix briefly assumes a corporeal form where she begs for help from Cyclops much like Barry Allen/The Flash did in Crisis on Infinite Earths.

Raven and Starfire are spooked by Phoenix while Robin is jumped by Deathstroke!

Meanwhile, over at Titans Tower (yes, in this story, the Marvel and DC universes again exist in a shared world rather than being separate, parallel worlds), Rachel Roth/Raven of the New Teen Titans finds her dreams interrupted by a prophetic nightmare of a woman, taking the shape of a flaming bird, destroying their world. When Garfield Logan/Changeling assumes the form of a similar bird, Koriand’r/Starfire randomly loses control of herself and attacks him; well aware of the threat that the Phoenix poses, Starfire summons the remaining members of the team (Wally West/Kid Flash, Donna Troy/Wonder Girl, and Victor Stone/Cyborg) away from their procrastinations, personal lives, and crimefighting antics to bring them up to speed on the Phoenix’s destructive power. Dick Grayson/Robin, however, is kept from joining his team mates when he butts heads with one of Darkseid’s Parademons only to be attacked by Slade Wilson/Deathstroke the Terminator, who not only reveals that he’s in cahoots with Darkseid but is easily able to knock Robin unconscious thanks to his superior physical and mental abilities. The X-Men discover that Jean’s parents and other areas across the world have also witnessed visions of Jean and mysterious incidents all linked to Jean’s past. After locating Robin, Starfire relates Phoenix’s legend as the “chaos-bringer” and a cataclysmic force; although Robin points out that cosmic threats are a little out of their league, and the more pressing issue of Deathstroke’s current plot, he promises Starfire that they’ll do everything they can to track down and stop Phoenix. The story then introduces us to Ravok the Ravager, another of Darkseid’s henchmen who he recruits as part of his plot to siphon the Phoenix’s vast cosmic powers.

Both the X-Men and Teen Titans are captured with a ridiculous amount of ease.

Weary from pushing himself too far, Xavier enters a deep sleep and barely has enough time to defend himself when Starfire bursts into the X-Mansion and attacks him in a rage. Xavier’s unparalleled psychic powers are subdued by a combination of Cyborg’s ultrasonic blasts and Raven’s dark “Soul-Self”, however Robin is disturbed and irritated at his team’s recklessness in breaking into the mansion and attacking Xavier without provocation. His reprimanding is interrupted by the arrival of Ravok and his Shock Commandos, who storm the mansion looking for the X-Men but quickly adapt to defeat and kidnap all of the Teen Titans but Changeling, who follows along undetected. While investigating New Mexico, the X-Men comes across Deathstroke and one of Darkseid’s “Psi-phons”; although they easily destroy the Psi-phon and are able to fend off the Parademons, Deathstroke quickly recovers from Wolverine’s initial attack to take each of the Mutants out with a “fear ray” that grounds Storm, a “toxi-grenade” that renders Shadowcat, Nightcrawler, and even Wolverine unconscious while a Parademon blasts Cyclops, and overpowers even Colossus’ hulking metallic form. Deathstroke and Ravok bring their captives to all-mighty Darkseid, who waits at the Source Wall and immediately sees through Changeling’s deception to subdue him, and then kills Ravok for his ineptitude with his destructive “Omega Beams”.

Darkseid summons Dark Phoenix but the heroes quickly join forces to confront the New God.

Darkseid secures his captives to a gigantic machine, the “Psychon-Wave”, which painfully and forcefully draws upon their superhuman powers and the Mutants’ memories of Jean, concentrating them on the breach in the Source Wall to bring Dark Phoenix back to life. He then regales the inquisitive Changeling with the reason for this plot (basically, he wants to use the Phoenix to transform the Earth into a new Apokolips that will allow him to conquer first New Genesis and then the length and breadth of reality itself). Hungry for destruction, Phoenix willingly accompanies Darkseid through a Boom Tube to begin this plot but, quite ludicrously, the heroes’ restraints disappear when Darkseid departs! Freed from captivity, the Teen Titans and the X-Men immediately agree to work together to stop Darkseid and Phoenix despite Wolverine not being happy about working with kids. While Shadowcat tries to flirt with Changeling and Kid Flash comments on the diversity of the X-Men, Cyborg, Xavier, Starfire, and Cyclops locate and acquire the Mobius Chair, which Shadowcat and Changeling accidentally activate to provide them with a means of escape. Tensions are stirred when Colossus sees Shadowcat flirting with Changeling and when Starfire kisses Colossus in order to learn Russian, but the team are soon carried back to New York in order to fulfil Cyclops’ solemn vow to make Darkseid pay for violating Jean’s memory and peace. They follow Phoenix’s unique psychic trail to a series of underground tunnels beneath the city where they are attacked by Deathstroke’s Parademons once more. Rather than waste time in a pointless battle, Robin and Cyclops give the order to collapse the tunnel and blast an escape route for their two teams, which conveniently brings them out right at Darkseid’s main base.

Dark Phoenix threatens the Earth’s safety so is subjected to a psychic attack.

Impressed at the tenacity of his foes, Darkseid dispatches Deathstroke and Dark Phoenix to hold the two groups off while he complete his work; although Starfire attacks Dark Phoenix in a fury, her starbolts succeed only in further empowering the corrupted Jean, who vehemently resists Nightcrawler’s attempts to reason with her and equally overwhelms even Raven’s Soul-Self. Dark Phoenix then powers up Darkseid’s “Hellpit” and Darkseid boasts about how this will transform Earth into Apokolips within mere minutes. Interestingly, he actually offers the X-Men and the Teen Titans the opportunity to yield and join his cause, which isn’t something I’ve ever seen Darkseid do before, but Shadowcat and Changeling opt instead to use their powers to try and disrupt and destroy the technology powering the Hellpit. For their insubordination, Darkseid commands Dark Phoenix to destroy them but they are saved at the last second by the combined power of Raven, Xavier, and the Mobius Chair. After Cyclops subdues Deathstroke and Robin spirits Shadowcat and Changeling out of danger, Dark Phoenix is bombarded by a psychic assault that simultaneously drains her rage and hatred and overwhelms her with love and affection.

Darkseid is defeated when the Phoenix Force is unleashed against him.

Drained, and close to unravelling, Dark Phoenix is easily goaded into reabsorbing the blast she fired at the Earth to sustain herself. When Darkseid moves to intervene, he is assaulted first by Kid Flash and then the combined forces of Cyborg, Wonder Girl, Colossus, and Starfire, who force his Omega Beams back into his eyes and therefore keep him from stopping Dark Phoenix from empowering herself and thus sparing the Earth. However, still at risk from being consumed by her raging power, Phoenix heeds Darkseid’s advice to focus her energies through a physical form and bonds herself to Cyclops. This, however, proves to be her undoing as Cyclops channels her powers with his undying devotion to his lost love and then turns the full Phoenix Force against Darkseid. The chaotic, flaming energy blasts itself, and Darkseid, across the vast cosmos of the universe to return to the Source Wall and thus imprison the New God within the Wall alongside the doomed giants of yore. Victorious, the two teams revel in how close they came to being destroyed and how fantastic their triumph was, while Scott finds some solace in Storm’s suggestion that Jean’s good soul ultimately saved them in the end. Finally, Metron returns to his chair and bids farewell to the imprisoned Darkseid, commenting that everything has returned as it once was as is to be expected.

The Summary:
“Apokolips…Now!” is quite the chaotic story; considering how many characters it has to juggle, it’s honestly surprising how coherent the story ends up being. If there’s one thing that always puts me off about team-based comics, especially X-Men and the Teen Titans, it’s the sheer abundance of characters and lore a single issue has to deal with so to mash the two together is no mean feat. The result is that no one single character from either team really gets any focus; indeed, many of the characters have next to nothing to do and the focus is, instead, on the meeting of the two teams rather than a bunch of separate interactions between them.

There are a lot of characters who don’t always get time to shine and whose interactions are a bit limited.

This is best seen in the fact that neither Robin or Cyclops get much of a chance to act as a field leader; Nightcrawler is basically a non-factor, and Wonder Girl may as well not be there. Sure, most of the characters are assumed to be busy in fisticuffs with the Parademons and the Shock Commandos but we don’t really get to see much of this. Indeed, we’re even denied a proper fight involving Deathstroke; he takes out Robin with a ridiculous amount of ease, subdues all of the X-Men largely single-handedly, and his fight with Wolverine all takes place off-panel! These days, I like to believe that you’d never see that happen given how prominent Deathstroke and Wolverine are but, in this, Deathstroke is little more than one of Darkseid’s minions who gets taken out pretty quickly to continue the focus on Dark Phoenix. Indeed, Jean’s presence gets more play here than a lot of the other characters; her death was still relatively new at the time and hadn’t been driven into the ground yet so her reappearance is a particularly emotional moment for the X-Men, particularly Cyclops. However, while it’s pretty cool to see Dark Phoenix enamoured with Darkseid and willing to commit global destruction on his behalf, it’s not really enough to elevate this story for me.

While the art is great, the story is just okay and wastes a lot of potential.

I’m not entirely sure where Metron went or what happened to him when he breached the Source Wall and Darkseid’s plot basically boils down to every other plan he has (he’s either seeking out the Anti-Life Equation or trying to conquer the universe, it seems) and, again, he really doesn’t do all that much. This isn’t entirely out of character for Darkseid, who typically allows his underlings to do his work for him, but it’s kind of weird to see him team up with Deathstroke. Like…did Darkseid pay Slade off? I can’t help but feel Trigon might have been a more suitable villain for the New God to ally with. Overall, it’s a pretty decent tale; we don’t get to see the X-Men and the Teen Titans facing off against each other (the closest we get to that is when the Teen Titans attack a weakened Xavier), which is a shame, but it’s fun seeing the teams co-operate. There’s a little tension in the brief Colossus/Shadowcat/Changeling “love triangle” but that’s about all the dissention we get; I would have liked to see how Robin and Cyclop’s leadership styles differ and more interactions from Kid Flash, Wolverine, Wonder Girl, and Storm. Instead, the comic is all about the spectacle of seeing these different comic publisher’s heroes and villains interact in as unspectacular a way as possible. A fun adventure, to be sure, but maybe a little too “safe” and it could very easily be any one of a hundred other X-Men or Teen Titan stories with a few tweaks…but at least the artwork is good.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever read The Uncanny X-Men and the New Teen Titans? If so, what did you think to it? Do you own a copy of the original comic or do you remember reading it when it was first published? Were you disappointed that the two teams didn’t come to blows or were you happy to see them just working together with no issues? Would you have preferred to see different characters in each team’s line-ups? What did you think to Darkseid’s plan and the return of Dark Phoenix? Would you like to see the X-Men interact with Marvel heroes again in the future and, if so, what stories would you like to see? Whatever your thoughts on The Uncanny X-Men and the New Teen Titans, and comic book crossovers of this kind, drop a comment down below and check back next Wednesday for the final instalment of Crossover Crisis.

Talking Movies: X-Men: Dark Phoenix

Talking Movies

Released: June 2019
Director: Simon Kinberg
Distributor: Walt Disney Studios Motion Pictures
Budget: $200 million
Stars: James McAvoy, Sophie Turner, Jessica Chastain, Tye Sheridan, Nicholas Hoult, Michael Fassbender, and Jennifer Lawrence

Ten years after the events of X-Men: Apocalypse (Singer, 2016), the X-Men have become celebrated superheroes. After answering a distress call from NASA, Jean Grey (Turner) is exposed to cosmic energies that send her powers rampant. With their teammate confused, conflicted, and being corrupted, the X-Men find their loyalties and friendships tested as they race to keep Jean from harming others with her newfound powers.

The X-Men franchise (Various, 2000 to present) has had a tumultuous history in recent years; after X-Men (Singer, 2000) helped audiences to take superheroes films seriously and popularise the genre as a money-making endeavour, the series has taken a bit of a downturn since 20th Century Fox decided to produce a series of films stupidly marketed as prequels that were actually soft reboots that have done nothing but screw up the franchise’s continuity and timeline with each instalment. X-Men: Apocalypse is largely regarded as being a disappointment, despite making a load of money at the box office, and, in the years since its release, 20th Century Fox has been acquired by Disney, meaning that the X-Men will soon be integrated into the Marvel Cinematic Universe in some way, shape, or form. However, X-Men: Dark Phoenix, was already in production before this purchase, meaning that this is the last gasp for this franchise in its current form.

The Review:
Considering that Disney will one day bring the X-Men into the MCU, Dark Phoenix seems largely redundant; the timeline and continuity of the films, and this franchise, is too messed up to sustain itself much less be integrated into the MCU without a complete recast and reboot, meaning that it really doesn’t matter how good, or bad, this film is, what it does, or how it ends. As a result, there’s a distinct lack of agency and investment when watching Dark Phoenix and all you can really hope for is that it does a better job of adapting the much-lauded Dark Phoenix Saga (Claremont, Bryne, et al, 1976 to 1977) than X-Men: The Last Stand (Ratner, 2006). The answer is that it does, in some ways, and doesn’t in other ways; for example, making the Phoenix a dark, suppressed aspect of Jean Grey’s (Famke Janssen) personality was actually a much neater, relatable way of realising the character in the grounded, semi-realistic context of the first X-Men movies. Dark Phoenix, however, uses the space element by having Jean bombarded with a destructive cosmic force that simply enhances her powers to dangerous levels.

Vuk seeks to obtain or control to Phoenix Force.

If this is more comic accurate then I guess that’s fine but Dark Phoenix also introduces a bunch of shapeshifting aliens, the D’Bari, who come to Earth seeking to obtain or control the cosmic force. Their primary agent, Vuk (Chastain), manages to help twist Jean against her team mates to facilitate her turn into the titular Dark Phoenix but there’s something off-putting about aliens suddenly and so awkwardly being thrust into this franchise that I found a little jarring. I think the D’Bari could have just as easily been a radical group of Mutants who see Jean as their saviour or they could even been replaced completely by Erik Lehnsherr/Magneto (Fassbender) and his Brotherhood of Mutants, similar to how Magneto (Ian McKellen) helped to corrupt Jean in The Last Stand.

The X-Men are decked out in matching, comic-accurate costumes.

There are some other questionable choices at work here as well; for example, at the end of X-Men: Apocalypse, the X-Men were decked out in some very swanky, mid-nineties comics-accurate costumes that they have promptly ditched in favour of uniform suits to help emphasise that they are a team to the media and society, while these are also comic accurate, it’s a shame we never got to see Scott Summers/Cyclops (Sheridan) rocking that outfit from the end of X-Men: Apocalypse. Also, Professor Charles Xavier (McAvoy) undergoes a bit of an odd character twist in this movie; despite apparently reuniting with Moira McTaggert (Rose Byrne) in X-Men: Apocalypse, Moira is nowhere to be seen and, instead, Xavier is basking in the adulation of the media and the relationship he has with the US government (which includes a hot line directly to the Oval Office and public commendations from the President (Brian d’Arcy James)). This changes Xavier’s entire motivations from the preservation of Mutantkind and the protection of humanity to an ego trip and skews his entire drive to forming the X-Men into wanting fame and respect, which is very jarring and out of character.

Grief forges some unlikely alliances.

At the same time, Xavier is also portrayed as being less than noble due to tampering with Jean’s mind, which raises the ire of Hank McCoy/Beast (Hoult) so much that he brands Xavier a monster and joins forces with Magneto. Yet, Xavier’s tampering is nowhere near the level seen in The Last Stand and you would think that one of his closest friends and allies, who stuck with him through addiction and the deaths of their team mates, would see that he was just trying to protect Jean. Instead, both Hank and Jean turn to Magneto in their time of need, which is a very odd way to push the character into the plot.

Still waiting to see Magneto start his “war”…

Magneto has formed a community of Mutants of the island of Genosha and has no desire to be involved in the outside world any more. Personally, I am glad that Dark Phoenix is the end of this series of movies as I am so sick of seeing each of these films jump forward another ten years and find yet another preposterous way of neutering Magneto; at the end of X-Men: First Class (Singer, 2011), Magneto had evolved into a fully-costumed version of the character who was actively recruiting Mutants for his Brotherhood and seeking to attack humanity but, in X-Men: Days of Future Past (ibid, 2014) he was in jail and portrayed as an anti-hero who was trying to protect Mutants until the end when he became a fully-costumed version of the character seeking to attack humanity. Then, in X-Men: Apocalypse, he inexplicably had a family and had retired from his “war” until he became a fully-costumed version of the character seeking to attack humanity…and then redeemed himself at the end and now, once again, he’s back to simply being another dark shade of grey in a film largely comprised of characters who are struggling between good and evil.

The X-Men lagely exist to follow Xavier’s orders.

As for the other X-Men, Sheridan actually has a decent amount to do as Cyclops but every quickly takes a backseat as Xavier leads the X-Men into battle to try and save Jean. He, like Kurt Wagner/Nightcrawler (Kodi Smit-McPhee) and Ororo Munroe/Storm (Alexandra Shipp) simply follows Xavier’s leads and orders without question and each of them are simply…there…because they are X-Men. Cyclops gets a bit more to do given that he’s emotionally and physically involved with Jean but, once again, this adaptation of the Dark Phoenix Saga is less about Scott and Jean’s relationship than it really should be.

Sophie Turner is absolutely stunning…

Luckily, as I mentioned before, Sophie Turner is absolutely gorgeous; she portrays Jean’s conflict and emotion very well, seems to relish the opportunity to do more and showcase more range, and is absolutely stunning. I live for the day when she and Amber Heard can be onscreen together; I may actually die! Given that the main plot of the movie revolves around Jean struggling with her increasingly out of control powers, X-Men: Dark Phoenix is more about characters and deconstruction their relationships than it is about action sequences. Jean’s powers and abilities increase and become more destructive as the film goes on, which makes her a real threat to the other characters, and there is a pretty good action scene that takes place on a train but the film is more about the emotional rollercoaster of Jean’s turn and struggle with her morality.

The X-Men are joined by a plank of bland wood pretending to be an actress…

Unfortunately, given that we know that this is the last film for this interpretations of these characters, it’s difficult to care about that, especially as Jean was only introduced in the last X-Men movie and it’s hard to be that invested in her sudden emotional struggle when she’s not a very well fleshed out character. Hell, we’ve followed Xavier, Magneto, Beast, and Raven Darkhölme/Mystique (Lawrence) this whole time and it’s hard to really be that invested in them as they undergo exactly the same character arcs in each movie, never age despite being in their sixties at this point, and have some questionable character arcs in this movie that basically make them either bland (in the case of Mystique), completely different (Xavier), or one-note (Magneto) despite strong performances by McAvoy and Fassbender.

The Nitty-Gritty:
If you’ve watched the trailers for this movie, you may have guessed that Jean kills Mystique in this film and, honestly, I could not be happier about that. I am not a fan of Jennifer Lawrence and her performance as Mystique leaves a lot to be desired, especially in this film, where she basically sleepwalks through every scene she’s in. I really don’t like Mystique being the field leader of the X-Men and every line she says is so stilted and forced that it’s a pain to watch. Luckily, though, she tried to appeal to Jean’s good nature and, unable to control her new powers, jeans blasts her away and impales her on some debris, finally ridding us of the character once and for all.

Once again, we’re forced to question Xavier’s morality.

I mean, obviously that completely destroys the timeline, but the X-Men timeline is completely fucked at this point anyway. Peter Maximoff/Quicksilver (Evan Peters) is back and now part of the X-Men team but, as always, he’s basically there for one slow-motion action sequence before he is blasted by Jean and hospitalised for the entire movie until the epilogue because, as always, his super-speed would allow him to end things to quickly and, rather than try and use the character in a decent way or tie up the lingering plot thread regarding his parentage, lazy writing took precedence and he was relegated to little more than a cameo. As mentioned, Xavier tampers with Jean’s mind a bit in this movie; this time, he blocks out traumatic memories of when she caused her parents’ car to flip and accidentally killed her mother. The cosmic forces causes some of these memories tor eturn and she flips out, turning against Xavier almost instantly despite the truth being that her father was afraid of her and Xavier took her in to raise as his own in a protected environment, which you would think she would know simply by virtue of being….raised by Xavier in a protected environment. Instead, Beast, grieving for Mystique, rages at Xavier for his actions, Jean tries to kill him, and Magneto treats Xavier as the “real bad guy” simply because he tried to spare a young girl from relieving a traumatic memory.

A cosmic force corrupts Jean’s powers.

Jean going to Genosha is such a weird scene; she has no reason to really go there and asking Magneto how he stopped killing is a pretty flimsy reason to go. She’s literally there just so the X-Men cane find out where she is and also go and all get captured by the government; it would have made much more sense to have Magneto take Vuk’s place and offer Jean sanctuary, only to turn on her in the same way once he realised/found out that she killed Mystique. Beast teaming up with Magneto was equally weird, given their history, but I guess makes a bit of sense given that he knows Magneto will want Jean dead after she killed Mystique, though the X-Men turned on and fought against each other pretty quickly and easily when you think about it. Similar to The Last Stand, the actual Dark Phoenix stuff ends up being quite lacklustre and rushed; again, since we haven’t really been following Jean’s story for that long, it’s hard to be that invested in her turn to the dark side. I really think these movies would have benefitted from being complete, obvious reboots set entirely in the mid-sixties to late-seventies rather than bouncing forward ten years each time to desperately try and chase the first X-Men movie despite obviously not being a precursor to the film any more. In the end, Jean comes to her senses and sacrifices herself to destroy Vuk, which seems like a hollow sacrifice and a move made simply because the Dark Phoenix Saga always ends with Jean dying. This also screws up the timeline as we already saw Jean alive and well in the Good Future at the end of X-Men: Days of Future Past but, again, nobody cares about continuity in these movies anyway.


The Summary:
X-Men: Dark Phoenix is…okay. It’s not the worst X-Men movie ever made but, as a final swansong for these characters and this cast, it’s very mediocre and feels more like a by-the-numbers sequel rather than a conclusive finale. It was better than I thought it would be but far from the epic saga the source material deserves, and that’s coming from someone who views the Dark Phoenix Saga as an overrated story that didn’t need another adaptation.

My Rating:

Rating: 1 out of 5.