X-Men: Apocalypse – review

The thing about superhero movies (as some geeky pub conversations may go), is that they have to get bigger and more spectacular each time. To the point where there’s nowhere left to take the story. And, whilst previous X-Men films have destroyed the Golden Gate Bridge and football stadiums and such, the only logical way to head, if we’re honest, is up. All the way to an apocalypse, total annihilation. (Something of a theme this summer, I thought, having sat through the new Independence Day trailer before this film began.)

Luckily for Marvel they have a character called Apocalypse aka En Sabah Nur – the first mutant; one who absorbs other mutant’s powers and who we first encounter in the film’s opening sequence in ancient Egypt (although he may be much older). During the scene he gets betrayed by his followers – who claim he’s a false God (one of the movie’s recurring themes) – and so he ends up trapped underground, in stasis and dormant. Until… thanks to some fortune (for him, more than the rest of the world) he awakes and decides that humanity needs an Etch A Sketch style reboot.

Enter our (slightly reluctant) heroes.

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They’re all back, for the most part. We’ve got Raven/Mystique (Jennifer Lawrence), now a freedom fighter, roaming the world setting fellow mutants free; Hank/Beast (Nicholas Hoult), rocking the bespectacled Professor look, helping out Charles Xavier (James McAvoy) in his house for the gifted. Then there’s Erik/Magneto (Michael Fassbender), holed up in Poland pretending to be normal, until events cause him to somewhat snap and return to the fold in a fury.

There’s also a load of newbies. Some younger versions of characters we’ve seen before and some are entirely new. We have: Jean Grey (Sophie Turner), Storm (Alexandra Shipp), Archangel (Ben Hardy), Psylocke (Olivia Munn), Kurt/Nightcrawler (Kodi Smit-McPhee), Peter/Quicksilver (Evan Peters), Scott Summers/Cyclops (Tye Sheridan). Plus a few more. It’s X-Men remember, character overload aplenty.

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That said, Bryan Singer really is some sort of genius when it comes to making these characters zing. Having seen three superhero films in a row recently (Batman v Superman, Captain America: Civil War, and this) I’d say this X-Men – the ninth in the series – is, to me, not only the most complicated in terms of character juggling, but also the funniest and the most emotionally resonant.

There I’ve said it. In your face Avengers.

For those of you that keep up to date with film reviews I may sound out of step at this point. At least with critics, who have largely laid into the movie saying it’s repetitive and downbeat – and Rotten Tomatoes seems to back this up, rating it at 52%, which isn’t great. But don’t get me wrong, I don’t put this too far above Captain America: Civil War (quite possibly the best Avengers film so far), I just think this X-Men entry takes it by a nose.

I felt I cared for these characters more than Steve Rodgers and Tony Stark. I felt invested in their fates.

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Maybe it’s just that I prefer Fassbender, Lawrence and McAvoy as leads compared to Chris Evans and Robert Downey Jr. Maybe I bought into the emotional beats more readily? Maybe it’s the comedy? Maybe this just seems more ‘Marvel’ in tone than the last Cap film. I genuinely think this X-Men is funnier than Captain America; not only for successful jokes throughout, which all land well, but in particular for another outstanding Quicksilver sequence; one which beats the last one hands down for its complexity, comedy, inventiveness and sense of danger… in that the stakes are upped from the last time he did his thing.

Whatever connected with me with this film, it remains a mystery. Maybe it’s just it had more of a sense of fun? Anyway, it was time well spent at the cinema.

And, as you’d expect with new blood coming in, it is, of course, left open for a tenth film. Which is quite some achievement for a franchise that’s been going so long. Although in terms of where we go next, that’s rather up in the air. Singer has spoken about taking the X-Men into space or exploring more of Jean Grey’s story. Now the space plot sounds like mad genius, so maybe that’s the best play. But… Jean Grey is insanely powerful as a character, so that could be good route too. Either way, with the young cast all bedding in nicely the future remains bright.

Trailer park: Victor Frankenstein, Joy, The Revenant

Good tidings we bring to you and your, er, fellow cinema fans. Here’s my latest ‘trailer park’ entry, highlighting a few that have caught my eye for films coming up soon.

Victor Frankenstein
Seemingly stealing the style straight from Guy Ritchie’s Sherlock films, here we have James McAvoy’s Dr Frankenstein and Daniel Radcliffe’s Igor in a sort of irreverent buddy movie – with monsters. And Andrew Scott, naturally.

Joy
David O. Russell reunites the dream team of Jennifer Lawrence, Bradley Cooper and Robert de Niro (after Silver Linings Playbook and American Hustle) once again for this hugely obvious Oscar grab. That said, it looks really good, and Lawrence looks to be on fine form.

The Revenant
In this film DiCaprio plays a fur trapper left for dead by his hunting party and then hunts them down seeking revenge. With credible Oscar talk this could be DiCaprio’s time to win one. And with Tom Hardy as the bad guy and Alejandro G. Iñárritu directing this promises to be an epic Western survival yarn.

X-Men: Days of Future Past review

X-Men-Days-of-Future-Past-Mystique-with-water-pistol-680x425So… How do you discuss the new X-Men film without giving too much away? Well that’s easy, throw in time travel. Always guaranteed to confuse all but the most hardened of moviegoers. And indeed confuse was the case in the cinema I went to; a full house with the audience all sitting quietly, leaning forward focusing.

The reason being is that this is one densely plotted film, by X-Men standards at least. Dense and tense. Most of this plotting is a good thing but requires you – in the words of Sister Mary Clarence a la Sister Act 2 – to sit up and pay attention. Those devilish trousers of time. If you go back you’ll affect the present, or create a new future, or something. Either way, it must have made for a right headache when planning the plot.

To recap: the events of this film happen around a decade after First Class but we’re brought up to speed with a serious voiceover in an apocalyptic future,xmen-dofp-review-02-600x399 one where sentinels were created which could adapt to any mutant talent, making them perfect killing machines. Facing extinction the last remaining mutants send Wolverine’s consciousness back in time (into his younger self) to the 1970s to stop the scientist behind the sentinels, Bolivar Trask (Peter Dinklage), from creating them in the first place.

So far so very Terminator right?

Except here we have Wolverine playing the confused ‘come with me if you want to live’ role, one where he needs to bring together James McAvoy’s Charles (wallowing in a pit of self loathing following events in First Class) and Michael Fassbender’s Erik (incarcerated in a maximum security prison having become a man who doesn’t compromise when it comes to safeguarding the mutant race).

This is clever writing. Instead of Wolverine in beserker animal mode he has to play peacekeeper, mediator between two men who, in future Magneto’s words, ‘couldn’t be further apart’.X_Men_Days_Future_Past_13838031567965 So Wolverine is scaled back and used sparingly – present in most scenes, but this is not quite his story.

So it’s not all introspective soul searching, we also have Jennifer Lawrence’s Raven/Mystique, also hellbent on stopping Trask, but having to choose which path to take to do it: Charles’s compassion on the one side or Magneto’s uncompromising nature on the other.

Bryan Singer, the man who kicked this franchise off in 2000 is back directing (following his departure after X2 in 2003) and it’s clear his love for the characters hasn’t diminished. If anything, absence makes the heart grow fonder and this is an impressive end (if that’s what it is) to this chapter of the franchise. And he’s savvy enough to give us what we need in terms of action, but also realise his vision by keeping the focus on the story and relationships above all else, particularly the triumvirate of Raven, Charles and Erik.???????????? It’s a brave move and – hopefully if the public respond and go see it – a clever one.

Despite the usual gargantuan line-up of characters, this is ultimately McAvoy and Lawrence’s movie in terms of performances: him all brooding and wounded, her confused and misguided anger. Throw in Fassbender’s intensity and you’ve got the perfect blockbuster pressure cooker.

Most (ok, a lot) of modern blockbusters have an engaging opening act, a compelling and thrilling middle, then sort of trail off in the final third or, more annoyingly sometimes, have a weak, infuriating and unsatisfying ending. Refreshingly Singer and screenwriter Simon Kinberg deliver a rather quite touching scene to bring the overall story full circle, leaving it in the best possible place for the future.

And, with almost a clean slate from here on out, where will they take these characters next? It’s an exciting prospect to ponder.