250W: X-Men: Days of Future Past

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X-Men: Days of Future Past (Dir. Bryan Singer/2014)

The announcement of X-Men: Days of Future Past after the success of First Class was inspired. Between a dismal solo-Wolverine movie and an appalling ‘final chapter’, the series that kicked off the superhero genre in 2000, had spectacularly imploded. This time-travelling adventure with old favourites (Patrick Stewart, Ian McKellan, Halle Berry, Ellen Page and Hugh Jackman) and the new crew (Michael Fassbender, Jennifer Lawrence and James McAvoy) would give the series a new lease of life. Involving sentinels and a morbid dystopia that has destroyed everything (except for pretty Chinese temples), Professor X sends Wolverine back in time to save the future by leading his younger rebellious self into battle. It isn’t perfect, and the enormous cast unfortunately seems to complicate matters rather than illuminate. Unnecessary conflict between Magneto and Xavier muddy the plot, confusing the core narrative whereby Mystique simply needs to be stopped from committing her first murder. But there are nods to almost every film in the series. Director Bryan Singer successfully makes X-Men relevant again in this Avengers-age of blockbusters. Evolution is central to all of the X-Men stories, and DOFP evolves into a beast that celebrates the history of the series (akin to the Fast and Furious franchise) while committing to a future that looks bright. For example, newcomer Quicksilver (Evan Peters) steals the screen within the few minutes he appears. A glorious reboot, X-Men: Days of Future Past is not to be missed and a worthy excuse to revisit every other metal-clawed, X-Men adventure.

Rating: 8/10

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150W: The Wolverine

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The Wolverine (Dir. James Mangold/2013)

The Wolverine, with flaws (and claws) does manage to separate itself from the usual X-Men fare, to create a James-Bond-type adventure for Logan. Travelling to Japan, and mourning the loss of Jean-Grey, he meets a man he saved from Nagasaki. Now an old man, technology-magnate Yashida, is on his death bed and desires Wolverine’s healing abilities. A film supported by young-mutants Yukio (who can see the future) and sultry Viper (more Poison Ivy from Batman and Robin), it is a new take on our clawed hero as, early on, his healing powers are weakened and we see him struggle from one fight to the next – something rare in every other adventure. Picture-postcard Japan, multiple women and an arrogant, robotic villain makes Wolverine more 007, but it works. Despite the weak snake-woman and a CGI-heavy climax, The Wolverine is likeable and tailor-made for X-Men fans who want something a little different.

Rating: 6/10

150W: X-Men: First Class

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X-Men: First Class (Dir. Matthew Vaughan/2011)

After the dismal X-Men Origins: Wolverine and the lacklustre X-trilogy finale in X-Men: The Last Stand, this instalment is considerably stronger. Charles “Prof. X.” Xavier (with full head of hair) in McAvoy and Erik “Magneto” Lenscherr in Fassbender demand our attention in X-Men: First Class. Indeed, their bromance lifts this film to heights that are stronger than many of the previous instalments. Jennifer Lawrence is Raven (Or young-Mystique), this time a friend of Prof. X. The standard “mutants with or against the world” dynamic is repeated through the villainous Sebastian Shaw (Bacon). Rival to both Erik and Charles, he uses the 1960’s cold-war to pit Russia and America against each other - with mutants picking up the pieces. X-Men: First Class is so much fun. With creaky-CGI, it rises to the challenge of reinvigorating the series through a playful plot. It's is exciting to see where the X-Men will go next…

Rating: 7/10

150W: X-Men Origins: Wolverine

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X-Men Origins: Wolverine (Dir. Gavin Hood/2009)

We know this story. Indeed, considering X2 resolved Wolverine’s history (throwing his dog-tags away), you’d think another re-tread is unnecessary. But we know nothing of his brother, Sabretooth, nor his alleyway fight with metal-tipped, pack-of-cards-throwing, Gambit. Fighting in both world wars and the American civil war, clawed-beast Wolverine has tried to set up a home, but his animalistic past drags him back to fighting. Unfortunately, this single film has left the series in tatters. Relying on mutant teams working together (akin to all previous X-Men films), it feels tired and repetitive – indeed, even the villain remains the same as X2 in William Stryker. Climaxing with a chaotic finale, as Sabretooth and Wolverine temporarily put aside their differences. They fight a super-mutant, Deadpool, who harnesses all the powers – surely he can re-grow body parts? Excessive CGI and flat characterisation makes the origin of Wolverine the dullest affair yet – a real shame.

Rating: 3/10

150W: X-Men: The Last Stand

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X-Men: The Last Stand (Dir. Brett Ratner/2006)

Opening X-Men: The Last Stand with a Terminator-style simulation, with clear nods to the previous films, (young Jean-Grey reveals ‘Level 5’ mutant ability) gives the impression we are in safe hands. But any hope is lost as favourite mutants are casually disposed of and new mutants (the hulking, dullard of a man in Juggernaut) are introduced. Rather than a fight between mutants or a fight against the mutants – a moral lesson regarding a ‘cure’ for the mutants is front and centre. Theoretically, a world-wide issue, it is limited to California. The spectacular backdrop of San Francisco becomes merely an opportunity to move CGI bridges and the climactic battle not only excludes key characters, but also erases the powers of others. Compared to X-Men the world is unrecognisable, and a return of Jean-Grey raises more questions than it answers. An awkward chapter in the series, with or without the future instalments. 

Rating: 4/10

150W: X2

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X2 (Dir. Bryan Singer/2003)

The whole team are back, and the unknown history of Wolverine remains at the forefront of X2 as he seeks out his history – and who is responsible. Supported by parallel confrontations between Prof X. and an ex-student who has equally-powerful telekinetic powers, a pattern of Father and Son stories (Or Dr. Frankenstein and his monster?) are established - Wolverine and new-baddie Stryker; Bobby and his family; Magneto/Pyro and so forth. To up-the-stakes, the threat this time is a massacre of all mutants. An incredible opening, as newcomer Nightcrawler darts around The White House is terrific, but this scene is not matched during the 2hr+ running-time that follows. Storm and Cyclops returns while Jean-Grey struggles to control her power. All three fail to justify their headlining importance. It builds on the previous story admirably, but becomes tiresome as X2 indulges in too many stories (and backstories) in too little time.

Rating: 6/10

150W: X-Men

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X-Men (Dir. Bryan Singer/2000)

Patrick Stewart narrates “Mutation: it is the key to our evolution”, in a role he was born to play as telepathic teacher, Professor X. His ominous voice-over, beginning X-Men, reveals mature and relevant themes, raising the film from action-shlock to an exploration of discrimination. Boldly using extermination camps of Nazi Germany (where McKellan’s ‘Magneto’ learns of his powers) to ground the film in “reality”, X-Men has no problem taking itself seriously – and indeed it should. This particular tale follows Wolverine (Jackman) and Rogue (Paquin) as they realise they’re not alone in their skillsets of adamantium-claws and power-borrowing. Singer directs this epic-story, complete with Statue of Liberty finale, with tact, homing in on personal relationships between the ensemble cast, including Storm (Berry), Cyclops (Marsden) and Jean-Grey (Janssen). Other than one politician, humans are outsiders; powerless to the mutant war. For an action-movie, these are audacious, ground-breaking themes making X-Men a must-watch.

Rating: 8/10