Fox’s two-decade run of 13 “X-Men” films and two TV series ends in understated and underwhelming fashion with “The New Mutants,” which was originally supposed to come out in 2018 and has been delayed so many times that it’s a small miracle we’re watching it at all.
It could be seen as an abortive attempt to launch new characters (who now will be unlikely to continue, especially since Disney/Marvel Studios now has the “X-Men” rights), but it also plays decently as a standalone, mutantized take on Shakespeare’s “The Tempest.”
Missing something special
Director/co-writer Josh Boone is earnest in his attempt to make “The New Mutants” – based on the comic that launched in 1982 — into something substantial, but he can’t find that extra something special that made his “The Fault in Our Stars” a modern teen classic.
His team sure tries, though. Composer Mark Snow lends weight with a contemplative score, and the sparse psych-ward grounds (shot at an old hospital in Massachusetts) and small cast create a tone of isolation.
Co-writing with Knate Lee, Boone sprinkles in a couple “Buffy” clips on a TV watched by the titular teens – a Willow-Tara scene prefiguring Rahne’s (Maisie Williams) sexuality, and a Buffy-Gentlemen fight underscoring the themes of breaking free from secrets, isolationism and inner demons.
Boone might be giving a nod to an influence, but the “Buffy” bits come off too blunt, while also making a viewer think of better storytelling.
Boone aims for character piece
Still, I think young viewers will dig “The New Mutants” if it’s their first “Tempest” riff.
The cast is strong, and in point of fact, this might be the best character piece among “X-Men” team films; if nothing else, it’s clear Boone is aiming for that status. (Before this, only the “Wolverine” films have done a deep dive into an individual mutant. And I suppose “Deadpool,” but those are comedies.)
In opening voiceovers from Dani Moonstar/Mirage (Blu Hunt), reminiscent of Mulder’s in Native American-themed “X-Files” episodes, we learn this is the story of the teens’ struggles with their inner (and literal, when manifested) demons.
Although Dr. Reyes (Alice Braga) and the ward itself are antagonists, these kids have to face their traumas before they can live their lives, regardless of their tormentors or location.
Strong young cast
“Game of Thrones’ ” Williams, sporting a cute Irish accent, is especially good as Rahne/Wolfsbane, a werewolf who quickly bonds with Dani, who has those Prospero-esque sorceress powers.
“The Queen’s Gambit’s” Anya Taylor-Joy is one of our finest young actresses, but accents aren’t her strength, and that’s exposed here as she plays Russian Illyana Rasputin/Magik.
Southern lad Sam/Cannonball (Charlie Heaton), whose name is self-explanatory, and Roberto/Sunspot (Henry Zaga), who gets hot – literally – when romantically inspired, round out the quintet.
In the comics, Illyana doesn’t join the New Mutants until the second lineup (Karma is the odd mutant out here), but she cuts an iconic figure with the little dragon Lockheed (a puppet when Illyana’s powers aren’t engaged) perched on her shoulder.
Some striking visuals
The final battle includes a striking shot where Illyana fights a smoke-bear monster with a glowing blade and the background shifts between daylit reality and dark nightmare. This illustrates the multiverse nature of these kids’ lives, and also looks awesome.
Rahne and Dani have some very cute scenes together, but “The New Mutants” weirdly falls short of forging the deep team bond it’s aiming for. Both boys like Illyana but not enough comes of this thread. They all suspect this facility doesn’t have their best interests at heart.
So when they do fight – the bully Illyana trying to insult Native American Dani with name-calling, for instance – we know they can’t stay enemies. Yet, with the exception of Rahne-Dani, a general unease lingers.
If this was the pilot episode of a TV series (and it feels that way, since TV- and movie-level special effects are indistinguishable now), there would be enough potential to give episode two a try. But as a one-off film, “The New Mutants” is missing something.