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X-Men: Apocalypse takes things a step further. A recurring weakness of recent superhero films is that the plots keep being interrupted so that yet more characters can be introduced. Scott Summers (Tye Sheridan), aka Cyclops, enrolls in Xavier’s school, where he bumps into the psychic Jean Grey (Sophie Turner).
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Mystique rescues the teleporting Nightcrawler (Kodi Smit-McPhee) from a Berlin cage-fighting club. You can probably guess what happens to them.Īpocalypse’s globe-trotting recruitment drive takes an inordinate amount of time, but he isn’t the only character in the film who is intent on meeting new people. And number four is Magneto, who has been living incognito in Poland since the events of Days of Future Past, and has now settled down with a wife and daughter. Horseman number three is the winged Angel (Ben Hardy), who has even less to contribute. Next, there is Psylocke (Olivia Munn), whose superpower is to stand around in a leotard and thigh boots while the men do the talking. “There are systems in place for that kind of thing.” (Amazingly, those aren’t the worst lines of dialogue in the film.) “You can’t go around killing people,” she warns Apocalypse, shortly before agreeing to work for him, anyway. In her younger 1980s incarnation, Storm is a teenaged urchin who can nonetheless discuss sociology in three languages. Co-incidentally, he meets his first candidate almost as soon as he surfaces: Storm (Alexandra Shipp), the weather controller played by Halle Berry in the original X-Men trilogy. The point is that he is up and about again, and he has decided, on a whim, to rid the planet of everything that was built while he was out of action.īefore that, however, he has to gather his latest quartet of mutant sidekicks, although why he doesn’t opt for a different number is never explained.
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Whenever he pops up, he always has four helpers – four horsemen, if you will – and he always causes a major disaster.Ĭonsidering that Apocalypse has been underground for the past five-and-a-half millennia, you may wonder which earlier disasters he could have been responsible for, and how MacTaggert could possibly know about them, but perhaps she is an expert in Neolithic history as well as a crack CIA agent. Apocalypse, she tells him, has been around since time immemorial. When he finally digs his way out of the rubble in 1984, his resurrection is witnessed by the CIA’s Moira MacTaggert (Rose Byrne), so she is able to brief her old flame, Professor Xavier. Isaac plays the shuffling, snarling Apocalypse, a mutant megalomaniac who was on the verge of ruling the world in 3600BC when he was buried under a pyramid by the people of ancient Egypt. Weighed down by prosthetic make-up and rubber armour, he looks as if he couldn’t decide between dressing up as Star Wars’ Emperor and Doctor Who’s Davros, so he put on both costumes at once. Jennifer Lawrence, as the increasingly Katniss Everdeen-like Mystique, is glum from start to finish, but Oscar Isaac has a right to be even gloomier. It’s the kind of film which makes you feel sorry for the many, many actors it squeezes in. But in their senseless and uninvolving new sequel, the series’ former wit, resonance and internal logic seem to have been lost in all the swirling clouds of computer-generated dust. It was exciting, then, when the director and writer of Days of Future Past, Bryan Singer and Simon Kinberg, reunited for Apocalypse. And then the franchise hit its high point with the time-warping X-Men: Days of Future Past (2014), which deftly linked the original trilogy to the civil-rights battles of the 1970s.
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The series ran out of steam with its third instalment, X-Men: The Last Stand (2006), but X-Men: First Class (2011) revived it cleverly by jumping back to the founding of Professor Xavier’s School for Gifted Youngsters in the 1960s. The groundbreaking first film, X-Men (2000), established that mutants were a feared and oppressed minority, thus allowing it to ponder questions of social cohesion and violent resistance well before Captain America got around to them.
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Maybe it’s a mistake to take such a daft film so seriously, but the X-Men series has, up until now, led the way in intertwining superheroic fisticuffs with real-world issues.