Directed by Matthew Vaughn
Written by Ashley Miller & Zack Stentz
Bryan Singer’s X-Men (2000) was arguably the moment where comic book movies grew up and is largely responsible for the endless slew of adaptations that siege our multiplexes year after year. Certainly his 2003 follow up X2: Mutants United showed a level of maturity and austere charm that the genre is rarely afforded and is hailed to this day by most sane people as possibly the finest graphic novel film of all time. It’s a shame, then, that Singer handed the reigns over to the amicable but far less talented Brett Ratner (Red Dragon, Rush Hour) for the finale The Last Stand, which turned out to be a fun but ultimately muddled and unsatisfying end to a stellar series.
Five years later and Singer is back. Some may lament him being reduced to producer detail but it’s a blessing in disguise, allowing him to maintain an eye on proceedings whilst letting someone else stamp their identity onto the series. So Matthew Vaughn steps into directing duties hot off the heels of last years critical favourite Kick-Ass. It’s a bold decision and one which doesn’t disappoint with some stylish cinematic moments and surprisingly edgy, brutal and curt flashes of violence, language, and verve. There’s also a level of kitsch humour here thanks to its period setting (the 60’s) which manages to balance out the more sombre tone of the proceedings nicely. But make no mistake – this is still very much Singer’s world and it’s due to this consistency and maturity that it works so well and subsequently fits into the canon with such satisfying coherency.
But is it any good? Well to cut to the chase – it’s really rather sensational. Being a massive comic book fan myself I make a point to watch every adaptation going, but I must
Because the greatest X-Men comics (and indeed, most super-hero comics for that matter) are introspective day-in-the-life dramas and none more so than the complex, almost
There’s actually very little action in this film up until the engrossing and explosive, but still refined and restrained finale. Some may be put off by this, but instead the movie is
It’s not perfect. There are a few f/x shots (particularly the flying ones) that don’t convince, a couple of necessarily cheesy comments to nudge along staple plot points (instigating costumes, Xavier going bald, coming up with the name X-Men), and the editing is occasionally choppy. But these are miniscule moments in a film rife with magical ones. Not least of which are a couple of grin-inducing cameos that I won’t spoil here, but give real weight to the movie fitting into the rest of the series.
Ultimately this is a far better film than Wolverine, The Last Stand or the first X-Men film and it stands up to X2 with it’s own style and presence as one of the finest examples of how a comic book movie can keep it’s integrity when coming to the big screen. It certainly blows away every other standard superhero film of the past half a decade or so.
It is also, incidentally, the only superhero movie that I’ve ever shed a tear to. So that’s got to be worth something.