cupspot.blogg.se

Wisely, Vaughn (following up last year’s subversive anti-superhero treat Kick-Ass) and screenwriters Jane Goldman (who wrote Kick-Ass, as well), Zack Stentz, and Ashley Miller have rewound the X-Men saga back to its fascinating origins. X-Men: First Class Takes The Mutants Back To The Essence

And, in even more words, it’s exactly the shot intelligent life that the long-running Marvel Comics brand needed in order to reclaim big screen superhero glory. In other words, it’s nothing like the property’s last endeavor, the soulless, Brett Ratner-directed, 2006 disappointment X-Men: The Last Stand, and everything like the first two installments, X-Men (2000) and X2 (2003), both helmed by Bryan Singer (a producer on X-Men: First Class). In that sense, X-Men: First Class is a thinking man’s summer blockbuster, hitting all of the prerequisite eye candy beats without distracting itself from telling a rich story through intricate characterization. Yet, by the film’s end, those aren’t the scenes or components that resonate rather, the lively characters, revelatory performances, and ambitious script are what sticks in the mind. One hero uses a yacht’s anchor to slice through the massive ocean liner like a kitchen knife through American cheese later, the same character, Erik “soon to become Magneto” Lensherr (played by acting powerhouse Michael Fassbender), caps off a CGI-laden climax-during which he lifts a submarine out of the ocean using his magnetic powers-by controlling airborne missiles like a mad puppet master. For a little over two hours, director Matthew Vaughn’s triumphant revival of the mutant superhero franchise provides more than enough visual splendor, in the form of elaborate action sequences powered by airtight and expectedly lavish special effects. An odd thing happens once X-Men: First Class draws to a close.