Five young mutants, just discovering their abilities while held in a secret facility against their will, fight to escape their past sins and save themselves.
<%%item_is_not_adult%%

Credits: TheMovieDb.

Film Cast:

• Danielle Moonstar / Mirage: Blu Hunt
• Rahne Sinclair / Wolfsbane: Maisie Williams
• Illyana Rasputin / Magik: Anya Taylor-Joy
• Samuel Guthrie / Cannonball: Charlie Heaton
• Roberto da Costa / Sunspot: Henry Zaga
• Dr. Cecilia Reyes: Alice Braga
• Dani’s Father: Adam Beach
• Thomas Guthrie: Thomas Kee
• Young Illyana: Colbi Gannett
• Reverend Craig: Happy Anderson
• Smiling Man: Dustin Ceithamer
• Coal Miner (uncredited): Mickey Gilmore
• Coal Miner (uncredited): Jeffrey Corazzini
• Frozen Cheyenne: Jacinto Vega SpiritWolf
• Smiling Man (voice): Marilyn Manson

Film Crew:

• Casting: Ronna Kress
• Producer: Karen Rosenfelt
• ADR Mixer: David Boulton
• Producer: Lauren Shuler Donner
• Executive Producer: Stan Lee
• Dolly Grip: Tim Collins
• Key Grip: Paul Wilkowsky
• Director of Photography: Peter Deming
• Production Design: Molly Hughes
• Producer: Simon Kinberg
• Original Music Composer: Mark Snow
• Hair Department Head: Brenda McNally
• Editor: Robb Sullivan
• Costume Design: Leesa Evans
• First Assistant Director: Nicholas Mastandrea
• Makeup Department Head: Trish Seeney
• Executive Producer: Michele Imperato
• Sound Re-Recording Mixer: David Giammarco
• Supervising Sound Editor: Warren Hendriks
• Sound Re-Recording Mixer: Derek Vanderhorst
• Casting: Carolyn Pickman
• ADR Mixer: Mark DeSimone
• Animation Supervisor: Andrew Doucette
• Sound Effects Editor: Eric A. Norris
• Characters: Len Wein
• Additional Music: Nate Walcott
• Electrician: Mark Oliver
• Producer: Hutch Parker
• Comic Book: Chris Claremont
• Additional Music: Mike Mogis
• Special Effects Makeup Artist: Carey Jones
• Director: Josh Boone
• Makeup Artist: JoJo Myers Proud
• Set Decoration: Merissa Lombardo
• Concept Artist: Alexios Chrysikos
• Editor: Matthew Rundell
• Supervising Art Director: Steve Cooper
• Visual Effects Producer: Steve Dubin
• First Assistant Editor: Robert Berman
• Costume Design: Virginia B. Johnson
• Assistant Set Decoration: Debbie Cutler
• Special Effects Makeup Artist: Vincent Schicchi
• Foley Artist: Dan O’Connell
• Art Direction: Ravi Bansal
• Rigging Gaffer: Mark J. Casey
• Foley Artist: John T. Cucci
• Screenplay: Knate Gwaltney
• Visual Effects Production Manager: Krzysztof Szulc
• Script Supervisor: Alicia Accardo
• Stand In: Casey McDougal
• Location Manager: Sam Hutchins
• Music Editor: Katrina Schiller
• Dialect Coach: Howard Samuelsohn
• Still Photographer: Claire Folger
• Supervising Sound Editor: Wayne Lemmer
• Visual Effects Editor: Neil Greenberg
• Property Master: David Gulick
• Visual Effects Production Manager: Jack Lilburn
• Rigging Gaffer: Roger Marbury
• Music Editor: Chris McGeary
• Wigmaker: Natasha Ladek
• Props: Aimee Butterfield
• Construction Coordinator: Theodore Suchecki
• Leadman: Cameron Matheson
• Visual Effects Producer: Brian Drewes
• CG Supervisor: Don Libby
• Extras Casting: Angela Peri
• Hairstylist: Camille Friend
• First Assistant Hairstylist: Raul Hernandez
• Scenic Artist: Rae Signer
• Key Set Costumer: Honah Lee Milne
• Visual Effects Supervisor: Mathew Krentz
• Sound Effects Editor: Greg ten Bosch
• First Assistant Makeup Artist: Nichole Pleau
• Sound Assistant: David Wolowic
• Senior Animator: Seyed Alireza Meraji
• Storyboard Artist: Simeon Wilkins
• Pyrotechnician: Thomas Carroll
• Pyrotechnic Supervisor: John Ruggieri
• Animation Supervisor: Terence Bannon
• Key Rigging Grip: Woody Bell
• Compositing Lead: Yogesh Badhe
• Special Effects Technician: José Páramo
• Stunts: Jenn A. Harris
• Visual Effects Production Manager: Monica Rho
• Set Costumer: Hannah Rhein
• Music Supervisor: Season Kent
• Second Assistant Director: Rosemary C. Cremona
• Foley Editor: Matthew Harrison
• Special Effects Supervisor: Mark Hawker
• Scenic Artist: Cammeron Truesdale
• Art Department Coordinator: Jason Mayoh
• Grip: Joseph Battista
• Set Dresser: Dawn Marie Richard
• Editor: Andrew Buckland
• ADR Recordist: Justine Baker
• Foley Supervisor: Mark Pappas
• First Assistant “A” Camera: David Eubank
• Production Coordinator: Lori Berlanga
• Sound Mixer: Steve Cantamessa
• Lighting Technician: Harry Pray IV
• “A” Camera Operator: Patrick Rousseau
• Boom Operator: Scott La Rue
• Visual Effects Producer: Korey J. Cauchon
• Visual Effects Coordinator: Sammy Shikaze
• Casting Associate: Matt Bouldry
• First Assistant “B” Camera: Greg Wimer
• Digital Compositor: Brian Budak
• Visual Effects Editor: Barbara Holmes
• Visual Effects Supervisor: Dan Cayer
• Stunts: Jade Quon
• Storyboard Artist: Court Chu
• Unit Publicist: Rachael M. Roth
• Visual Effects Editor: Rachel Litz
• Art Department Assistant: Jennifer Driscoll
• Special Effects Technician: Christopher Walsh
• “B” Camera Operator: Manolo Rojas
• Costumer: Gianna Soprano
• Associate Producer: Joan Kelley Bierman
• Concept Artist: Kelton Cram
• Stand In: Acei Martin
• Concept Artist: Eva Kuntz
• Digital Intermediate Colorist: Stephen Nakamura
• VFX Supervisor: Bryan Litson
• Carpenter: Graves Bates
• Carpenter: Nick Bellofatto
• Greensman: Brian Fry
• Construction Foreman: Jason Joubert
• Set Designer: Anthony Raymond
• ADR Recordist: Kristin Catuogno
• Pilot: Frédéric North
• Set Decorating Coordinator: Ashley L. Sykes
• Wardrobe Supervisor: Dana Pacheco
• Rigging Grip: Chris Ryerson
• Visual Effects Editor: Steven Spady
• Special Effects Makeup Artist: Julie LeShane
• First Assistant Editor: Daniel M. Nussbaum
• Best Boy Grip: David C. Romano
• Key Costumer: Joanna Murphy
• Set Dresser: Dennis Colvin
• Visual Effects Producer: Anton Agerbo
• Comic Book: Bob McLeod
• Set Designer: Vince Mountain
• Visual Effects Coordinator: Thomas Scott Holland
• Scenic Artist: Kim Codner
• Rigging Grip: Michael Geoghegan
• Special Effects Technician: Leslie Coogan
• Compositing Supervisor: Mark Braithwaite
• Grip: Georgia Pantazopoulos
• CG Supervisor: Frank Belina
• Stand In: Ralph Ayala
• Dolly Grip: Teresa Hays
• Foley Mixer: Richard Duarte
• Visual Effects Producer: Greta Ruljevaite
• Carpenter: John Larson
• Digital Intermediate Producer: Philip Marvin
• Visual Effects Coordinator: Edan Hopper
• Set Dresser: K.C. Roballo
• Grip: Brian O’Connor
• Special Effects Technician: Pete Kelley
• Visual Effects Coordinator: Neethu Vijayakumar
• Generator Operator: Dan Hutchinson
• Best Boy Electric: Michael Peterson
• Generator Operator: Jose ‘Flecha’ Hernandez
• Art Direction: Loic Zimmermann
• Makeup Artist: Kristen Strassel
• Special Effects Technician: Adam Bellao
• Special Effects Makeup Artist: Andy Bergholtz
• Pyrotechnician: Juliana Lima
• Special Effects Technician: Timothy Massey
• Stunt Coordinator: Walter Garcia
• Dialect Coach: Jamison Bryant
• Stand In: Nadia Sayess
• Visual Effects Coordinator: Joseph O’Sullivan
• Main Title Designer: David Clayton
• CG Supervisor: Ahmed Yousry
• Digital Compositor: Petr Sajner
• Matte Painter: Thaddeus Warren
• Compositing Lead: Robert A. Willis
• Concept Artist: Ivan Khomenko
• Visual Effects Coordinator: Andrew Van Midde
• Assistant Property Master: Noah Dubreuil
• Set Dresser: Timothy Rowcroft
• Rigging Grip: Peter Hand
• Lighting Technician: Tim Dunbar
• Electrician: Robert Clark
• Libra Head Technician: Jason Cortazzo
• Rigging Grip: Joe Battista
• Rigging Grip: Ed Regal
• Production Assistant: Tony Scelsi
• Second Second Assistant Director: Katie Valovcin
• Concept Artist: Steffen Reichstadt
• Concept Artist: Aaron Sims
• Graphic Designer: Rick Radomski
• Concept Artist: Leandre Lagrange
• Editorial Production Assistant: Wyatt Lennertz
• Digital Compositor: Brian Ducharme
• Foley Mixer: Jack Cucci
• Characters: Dave Cockrum
• Compositing Supervisor: Alex Llewellyn
• Digital Compositor: Miguel Ponce
• Prop Maker: Benjamin Regan
• Set Dresser: Jonathan Champoux
• Set Dresser: Wayne Kimball
• Lighting Technician: Steve Sikora
• Textile Artist: Jill Thibault
• Matchmove Supervisor: Virender Dass
• Special Effects Technician: Bruce A. Ross
• Special Effects Technician: James Johnson
• Concept Artist: Jack Dudman
• Visual Effects Supervisor: Craig Wentworth
• Digital Compositor: Gabriele Filippelli
• Second Assistant Accountant: JoAnn Stevens
• First Assistant Accountant: Michelle Stevens
• Digital Compositor: Anu Liikkanen
• Visual Effects Art Director: Philippe Gaulier
• Assistant Costume Designer: Samantha Schwartz
• Ager/Dyer: Clinton E. O’Dell
• Set Dresser: Gregory J. Corcoran
• Painter: Thomas Colleran
• Electrician: John S. DeSimone
• Key Rigging Grip: Frank Montesanto
• Rigging Grip: Gary M. Olitsky
• Second Assistant “B” Camera: Dean Egan
• Set Production Assistant: Kylie Paul
• Colorist: Gabriele McIntyre
• Digital Compositor: Mike C. Pare
• Digital Compositor: Rich Hardy Jr.
• Digital Compositor: Julianne Holzschuh
• Digital Compositor: Carmen Wong
• Digital Compositor: Radoslav Yanudov
• Set Production Assistant: Timothy DuBois
• Production Assistant: Delane Leahy
• Set Production Assistant: Benjamin Zalusky
• Techno Crane Operator: Kevin Gilligan
• Scenic Artist: Amber Primm
• CG Supervisor: Francesco Pinto
• Production Accountant: Matt Hughes
• Set Dresser: Christopher Conroy
• Props: Kelly Walton
• Scenic Artist: Kerri McGill
• Loader: Toshadeva Palani
• Visual Effects Editor: Jackson Chow
• Visual Effects Production Assistant: Stephanie Brandolini
• Assistant Editor: Jared Simon
• Digital Imaging Technician: Maninder K. Saini
• Sound Engineer: Samuel R. Green
• Visual Effects Supervisor: Troy Moore
• Lighting Technician: Alec Roy
• Stunts: Jesse Stoudt
• VFX Lighting Artist: Ryan D. Hansford
• Props: Lisa Nagid
• Stunts: Kristina Baskett
• Visual Effects Coordinator: Kallan Treadwell
• Payroll Accountant: Sophia Tapia
• Visual Effects Supervisor: Olivier Dumont
• Tailor: Robin Chalfin
• Stunts: Luci Romberg
• Visual Effects Production Manager: Rebecca Matkaluk
• Visual Effects Coordinator: Connie Sung
• Scenic Artist: Dave Manning
• Prop Maker: Zachary Zablocki
• Matte Painter: Erika Velikoivanenko
• Scenic Artist: Christina Todesco
• Set Dresser: Gabor Medveczky
• Production Assistant: Steven P. DeCoste Jr.
• Production Assistant: Marissa Messina
• Concept Artist: Jamie O’Hara
• Storyboard Artist: Bill Thompson
• VFX Lighting Artist: Chris Palmer
• Visual Effects Coordinator: Leema Rose
• Utility Sound: Aaron Bouchard
• Electrician: Brian C. Doyle
• Electrician: Julia Korona
• Grip: Xavier Munoz
• Rigging Grip: Steven P. Marabello Jr.
• Rigging Grip: Micheal Sheehan
• Rigging Grip: Jason Chef Sokolowski
• Contact Lens Technician: Cheryl Jost
• Costumer: Jennifer Betts
• Carpenter: Paul DeQuattro
• Character Designer: Ehsan Bigloo
• Concept Artist: Pat Presley
• Construction Buyer: Lauren Ashly Suchecki
• Props: Grace Gulick
• Set Dresser: Tyris Smith
• Storyboard Artist: Ashley R. Guillory
• Assistant Editor: Morgan Kern
• Assistant Editor: Danielle L. Statuto
• CG Supervisor: Vincent Italia
• Compositing Supervisor: Kelvin Yee
• Compositing Lead: Stuart Bruzek
• Digital Compositor: Anu Babu
• Digital Compositor: Dylan Campbell
• Digital Compositor: Karla Vazquez Ch
• Digital Compositor: Jason Heinze
• Digital Compositor: Karthik Kesiraju
• Digital Compositor: Giles Longman
• Digital Compositor: Naveesh Kumar Rana
• Digital Compositor: Jesse Siglow
• Digital Compositor: Yuri Vasilyev
• Digital Compositor: Mustafa Yasin Yalva
• Key Animation: Lucas Degani
• Key Animation: Carlo Loffredo
• Lead Animator: Sachin S. Suryawanshi
• Pre-Visualization Supervisor: Alex Cannon
• VFX Lighting Artist: Eman Abdul-Razzak
• VFX Lighting Artist: Marvin Chua
• VFX Lighting Artist: Gaeun Lee
• VFX Lighting Artist: Lyndsey Will
• Visual Effects Coordinator: Bryant Mudd
• Visual Effects Coordinator: Ameet Muley
• Visual Effects Coordinator: Juan Orozco
• Visual Effects Coordinator: Jennifer Stimpfig
• Visual Effects Coordinator: Jessica Jara Yepez
• Visual Effects Coordinator: Vladislava Govednik
• Visual Effects Editor: Richard Lukacs
• Visual Effects Production Assistant: Viktoria Gutheil
• Visual Effects Production Assistant: Matt Daigle
• Production Assistant: Meghan Cassidy
• Production Assistant: Jasmine Zablocki
• Production Secretary: John Aufiero
• Production Secretary: Raymond Lisi
• Travel Coordinator: Molly Merrell
• Set Dresser: Michael Bird
• Set Dresser: Dawn Richard
• Second Assistant “A” Camera: Randy Stone
• Editorial Production Assistant: Nick Usen
• Editorial Production Assistant: Sebastian J. Hughes
• Sound Assistant: Mellisa Lytle
• Rigging Grip: B. Tracy Ouellete
• Rigging Grip: Tim Catz
• Special Effects Assistant: Victoria Haag
• Scenic Artist: Cheryl Jefferies
• Set Production Assistant: Clara Kelly
• Stunts: Ellette Craddock

Movie Reviews:

• MSB: If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com

  I still can’t believe I’m about to write a review for The New Mutants… The last X-Men movie before they’re introduced into the MCU became one of the most delayed films ever, but it finally got released this week. Shot in 2017 with an original release date of April 2018, Josh Boone had reshoots planned, which postponed the movie for the first time. Disney began negotiations to merge with 20th Century Fox (now 20th Century Studios), keeping the film in a limbo state. A global pandemic emerged, pushing the movie even further. Final outcome: a worldwide limited release three years after finishing shooting, and without any reshoots. So, obviously, my expectations were pretty low…

  Surprise, surprise, The New Mutants isn’t a horrible mess, it’s… fine! I feel really sorry that so many people worked on this film and had to wait so long to see it being released to the world. I love how it’s far from being just another generic, formulaic superhero flick. Sure, it has tons of cliches, and it does still feel like an X-Men movie at times, but I’ll get there. I genuinely appreciate that Boone and Knate Lee wrote a narrative packed with significant and detailed character development, including a compelling romantic arc. Every young mutant gets their own story explained front-center. Each time the film dives into a character’s past, it never feels like an irrelevant subplot. It all serves a purpose.

  The technical crew had a very low budget to work with compared to other movies in the genre, so I must praise them for transforming a small, one-location film into something surprisingly entertaining. The visual effects definitely don’t have that quality that viewers are used to seeing now, but they’re reasonably okay for the most part. The horror atmosphere is definitely present, but it feels like the movie could have benefited from a more assertive, bolder approach to these nightmarish sequences. The best aspect of the whole film is related to the indisputably talented cast, with just one exception…

  From Anya-Taylor Joy’s rebel behavior to Charlie Heaton’s experienced performance, passing through Maisie Williams’ emotional display and Henry Zaga’s charming one-liners, every one of these actors proves why they were cast in such a well-known franchise. Despite the ridiculously flawed accents, all share great chemistry between each other, including debutant Blu Hunt. However, the latter fails to be a compelling protagonist clearly due to her inexperience. I don’t want to be too harsh on her because I did see some great moments when she shared the screen with her colleagues. However, I do need to state that every scene where she acts alone or against a green screen reaches cringe-worthy levels of bad acting.

  Boone and/or the casting crew must also take responsibility for choosing her as the main character, but honestly, she’s not even my main issue. That has to do with her own character. While she gets the same focus as her fellow mutants when it comes to her backstory, she never really has to deal with her powers’ consequences. Some mutants hurt or killed people, and they’re unquestionably damaged because of it. Dani doesn’t have a single moment where she feels sorry for whatever happened in her past or where she’s confronted with it. It’s quite hard to connect with a protagonist when both the character and the actress playing her lack that captivating personality.

  Finally, Alice Braga, as the doctor, is probably the most formulaic component of the movie. From the first conversation she has with the mutants, any viewer can guess where the story is going. Braga is good as Dr. Cecilia Reyes, but coincidentally or not, her character is the only one whose backstory wasn’t remotely explored. Reyes’ motivations and what lies beyond the hospital raise intriguing questions that, unfortunately, never get answered. Maybe the supposed reshoots could have solved some of these issues, perhaps they could have added some more. I don’t know for sure, but what I do know is that The New Mutants is far from being an awful mess.

  All in all, Josh Boone and Knate Lee deliver a reasonably entertaining screenplay out of the generic zone of the superhero genre, packed with detailed character development and decent horror sequences, especially having in mind the low budget. The New Mutants features a marvelous cast, where everyone shares tremendous chemistry with each other. All actors deliver great performances, except for the debutant Blu Hunt who unfortunately lets her inexperience overcome her evident potential. Contrasting with the overall character treatment, Dani Moonstar fails to be a compelling protagonist since she’s barely shown having to deal with the emotional consequences of her powers like every other mutant does. Despite the refreshing take on the overall story, there are still a few cliches and formulaic components throughout the film, especially related to the hospital. Overall, it’s surprisingly okay considering the numerous production issues, so I definitely recommend it at least just to say goodbye to the last X-Men installment pre-MCU.

  Rating: B-

• SWITCH.: Just like ‘Dark Phoenix’, Fox’s greatest loss is Disney’s greatest gain: even as ‘The New Mutants’ opened, the discussion was already focused on how Disney’s MCU is bound to resuscitate ‘X-Men’. That’s a shame because Josh Boone’s relic from a defunct franchise, unceremoniously dumped in cinemas in the middle of pandemic, was a step in a potentially interesting new direction.
  – Jake Watt

  Read Jake’s full article…
  https://www.maketheswitch.com.au/article/review-the-new-mutants-an-enjoyably-small-scale-superheroic-character-piece

• NerdyPopcorn: The problem with The New Mutants is that it fails in so many different areas that’s its difficult to pin point why it’s such a bad movie. If you’re a X-Man fan you’ll be disappointed by the main characters mutations, if you’re a thriller fan you’ll be disappointed by the villain.

  **When to watch:** The only scenario I would recommend you watch this movie is if you are die hard fan of one of the actors (Even still you might be disappointed)

  **How to fix this movie:**

  1. Replace the villain, stop trying to make this a weird horror crossover and focus on what made X-Man good to begin with. A PROPER VILLAIN.
  2. Far to much focus on the poorly written backstory for each main character.
  3. Make the Mutations better! The super powers should make the audience want to be them.
  4. Cut the cheesy dialogue and pick a clear genre, this is a toss up between, Sci-Fi, Action, Horror, Romance, Cheesy B Level Movie.

• Repo Jack: As both a horror and X-men fan, I was looking forward to this mashup since the first trailer dropped. Even recently with mostly bad reviews and press, I wanted to see it for myself.

  And … it pretty much sucked. That doesn’t bode well for future work from Josh “The Fault in my Stars” Boone (e.g. “The Stand” mini-series.

  We pretty much know the gist from the trailers. Young mutants are haunted/harassed by something in a mental hospital.

  The best parts are pulled from the X-men series in which mutants first find out their powers, typically represented effectively on screen. Most times these scenes are fun, but the special effects are a mixed bag, jumping back and forth from decent to cheesy.

  Most of the ensemble cast are relatively new up-and-coming stars such as Maise Williams (“Game of Thrones”), Anya Taylor-Joy (“The Witch/Queen’s Gambit”), and Charlie Heaton (“Stranger Things”) but the acting is mediocre, and worst of all, they butcher whatever accent they are supposed to have (Irish, Russian[?], and U.S. southern respectively).

  And the story — disappointing to say the least.

  If you drop your expectations to a bad 90 minute “Buffy the Vampire” episode, then maybe you’ll find something to like.

• Kamurai: Surprisingly great watch, will likely watch again, and do recommend.

  My expectations of this one were rock bottom: I honestly didn’t think much of the trailer. I thought they were ruining “The New Warriors”, my mistake, and I didn’t realize they gender bent a character I was already familiar with. (Moonstar is basically another guy character from “The Initiative” in Marvel Comcs)

  What is really interesting, and NEVER ADDRESSED is what the facility is, who runs it, and what the point is. There just aren’t answers to be had so simply during an uprising. Honestly worst part of the movie, but unless you’re paying too much attention, you probably won’t even notice.

  The characters are deceptively interesting, to the point where I was actually surprised at certain points, but they are what makes the movie. The discovery of the characters, they’re evolution as a team, and their personal struggles are what makes the movie great.

  It is also FILLED with action after a certain point, beautifully rendered and weighted combat with something somewhat meaningful behind it.

  If you’re into super powered action on any level, then give this a watch.