The Trask at Hand: X-Men – Days of Future Past (2014)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Bryan Singer’s 2014 epic, X-Men: Days of Future Past

Though ostensibly designed as a new beginning for the X-Men franchise, Days of Future Past oddly works better as an ending.

Bryan Singer’s return as director of the franchise, after abandoning the third intended X-Men film in 2006 for Superman Returns, gives the film an unexpected level of continuity back to his original first two pictures and allows it to work as a capstone for the original X-Men cast, the majority of whom return for this adaptation of Chris Claremont & John Byrne’s legendary 1981 Uncanny X-Men saga set in a dark, post-apocalyptic future where both humans *and* mutants have been subjugated by the Sentinels, a force of man-made, mutant-killing robots. Days of Future Past ends up allowing Singer to both tie-off many of the loose ends left remaining after X-Men: The Last Stand, and continue the rebirth of the saga after Matthew Vaughn’s X-Men: First Class. As the film brings together two different generations of X-Men and these characters, so Days of Future Past unites Singer and Vaughn, who co-developed the story with First Class writer Jane Goldman, in developing a unique fusion of continuation and conclusion.

Days of Future Past is the most tangibly connected X-Men film to X1 and X2, even beyond Singer back in the director’s chair. It tackles the core ideological difference between Charles Xavier (James McAvoy) and Erik Lensherr (Michael Fassbender) that formed the backbone of those first films, as it does in the original Stan Lee/Jack Kirby comics, and naturally evolves that conflict from its foundation in First Class. Though the plot is driven by Wolverine in his role working to change the past, and it hinges on the historical actions of Mystique, Days of Future Past is as much an origin story for Professor X and his school as First Class was for Magneto. The script is cleaner, the dramatic through-line more directly apparent (at least in the first half), and it manages to both give the original X-Men trilogy a sense of closure while spiralling the franchise off into a new direction. This does for the X-Men franchise what JJ Abrams’ 2009 reboot movie did for Star Trek – new life born of old characters.

X2 may be the stronger movie by a yard or two, but Days of Future Past could well be my personal favourite for how it satisfies the viewer on multiple levels.

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Origin of Species: X-Men – First Class (2011)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Matthew Vaughn’s 2011’s prequel, X-Men: First Class

As prequels go, X-Men: First Class is a pretty great offering. As saviours of an entire franchise go, First Class is pretty much a miracle.

To suggest the X-Men franchise was in the doldrums at the end of the last decade would have been an understatement. The Last Stand, meant as a capper to the first two initial Bryan Singer helmed X-Men films, made a decent profit but was roundly trounced by critics and many fans, as indeed was X-Men Origins: Wolverine in 2009 – technically both a sequel *and* prequel, intended as a character study for Hugh Jackman’s breakout mutant from the previous trilogy, it turned out a critical failure that set 20th Century Fox onto a path they had been toying with throughout the first trilogy of pictures: a film about the youthful origins of the X-Men. With no clear path forward, producer Lauren Shuler Donner started looking back, in order to gain a fresh perspective the franchise by this point sorely needed.

The result, First Class, turns out to be far more of an assured triumph than, off the back of the previous two films, it had any right to be. Matthew Vaughn’s film does not just go back to the origin story of characters who Singer introduced us to fully-formed and established in X-Men—principally Professor Charles Xavier and Erik ‘Magneto’ Lensherr—but takes the franchise further back to its essential comic-book roots than ever. While the name First Class was grabbed by writer Simon Kinberg from a modern X-Men comic he chose not to directly adapt, the 1962, height of the Cold War setting, with a narrative underpinned by geopolitical tensions between the US and Soviet Union, very much calls back to Stan Lee/Jack Kirby’s original 1960’s comics—which debuted around the same time—filled as they were with anxieties about nuclear conflict and Communist fears.

In going back to the beginning, First Class is remarkably successful in charting a way forward that was inconceivable two films earlier.

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From the Ashes: X-Men – The Last Stand (2006)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Brett Ratner’s third film, 2006’s X-Men: The Last Stand

If you ever needed proof of the law of diminishing returns, you could look no further than X-Men: The Last Stand.

Over the years, X3 (as it was never officially known but we will call it for expediency) has developed what could be charitably described as a bad reputation amongst fans of comic-book cinema and indeed fans of Marvel’s X-Men comics themselves. There is no question – The Last Stand is a profound step down from the preceding two films, particularly the strong and layered X2. Brett Ratner’s film is emptier while being crammed with more plot, and more mutants, that you can shake a stick at it. The script is unfocused and at times obnoxious, while Ratner’s direction has none of the poise and subtlety Bryan Singer brought to the previous movies. Several of the key, well-developed characters from X1 and X2 are unceremoniously dumped and numerous key journeys and arcs across those two films are ditched or given short shrift. If X2 was X-Men’s The Empire Strikes Back, this is a poor man’s Return of the Jedi, with 2009’s execrable X-Men Origins: Wolverine probably the Star Wars Holiday Special.

Yet… yet… there is something about The Last Stand which prevents it from being a complete and utter failure. It is perhaps the purest invocation of the kitsch pulp Stan Lee & Jack Kirby gave us in the earliest 1960’s X-Men comics, far more so than the updated, modernised take across Singer’s movies. While churning through at times underwhelming material, key actors such as Hugh Jackman, Patrick Stewart and Ian McKellen are comfortable in the skin of their characters and are visibly enjoying playing them. The Last Stand, in how it pits the X-Men against the Brotherhood of Mutants by the climax, is one of the first major comic-book blockbusters to pit a whole team of super-powered heroes and villains against each other, something we would by now come to expect in many Marvel Cinematic Universe films; indeed, The Last Stand introduces the post-credits teaser sequence before Iron Man in 2008 goes on to steal it and make it a staple of the MCU.

Don’t get me wrong: The Last Stand is not a good X-Men film, or indeed a good comic-book movie. We have, however, seen much worse.

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Shock and Awe: X2 – X-Men United (2003)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Bryan Singer’s sequel, 2003’s X2…

Though far more of a muscular and accomplished film than its predecessor, X2: X-Men United would never have worked without it.

X2 is in danger of being overlooked in our era of dominant comic-book movie franchises and behemoth superhero pictures as one of the key, formative pieces of cinema in the genre, something we must work hard to avoid. Bryan Singer’s sequel is a skilled piece of work which does precisely what a follow up is designed to do – build on the foundations of the previous film, add complications and greater depth, and provide a heightened, meaningful experience. X2 does that very successfully. It is The Empire Strikes Back to X-Men’s A New Hope. It even has strong shades come the denouement of Star Trek II: The Wrath of Khan in how it punches you with an earned sacrifice on one hand, while promising a rebirth on the other. X2 feels like a picture that everyone involved had been constructing in their minds long before it was ever committed to celluloid.

On that basis, X2 feels on some level like the first truly meaningful X-Men movie but one that needed the prologue of the original 2000 film in order to function in the manner it does. When Singer came back to helm the sequel, he combined screenplays by David Hayter—who penned the previous movie—and Zak Penn, brewed up with rewrites from Michael Dougherty and Dan Harris, in order to fuse together a film which develops many of the established character arcs from X-Men, placed the film distinctly in a post-9/11 context, and digs deep into the ideological and existential conflict between Professor X and Magneto – namely whether mutants should believe in humanity or reject and destroy them. It does this while never forgetting the human cost of being different, exploring the difficulty of living with what genetics, evolution, gives you in a less than tolerant society.

X2 does this with a poise and panache that few comic-book movies have equalled since.

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Mutated Anxiety at the Millennium: X-Men (2000)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We start with Bryan Singer’s original, 2000’s X-Men…

Though not always discussed in the annals of great comic-book cinema, or even considered the height of its own franchise, Bryan Singer’s original adaptation of X-Men is a seminal moment in superhero cinema.

Before Singer brought Stan Lee & Jack Kirby’s formative 1960’s Marvel Comics property to the screen, after over a decade of attempts by a range of filmmakers (most notably James Cameron and Kathryn Bigelow), comic-book cinema was principally dominated across the 1980’s and 1990’s by two heavyweights: Superman and Batman. The former ruled the late 1970’s into the 80’s before falling from grace with a succession of sequels whereby the budget went down as the schlock went up, while the latter moved away in the 90’s from Tim Burton’s initial Neo-Gothic vision into a high camp, overblown blockbuster confection. Beyond these behemoths, comic-book films were curiosities – The Rocketeer, The Shadow, The Phantom, The Crow, Darkman, Spawn – films which either garnered a cult audience or disappeared from the radar entirely.

X-Men changed all that. While not the first Marvel property brought to bear on the big-screen, Singer’s film was without doubt the first adaptation of their source material to go mainstream as a major box-office success – two years earlier, the Wesley Snipes-fronted Blade arguably also did well but was too violent and pulpy to reach a wide audience, and many to this day are unaware it even *is* a Marvel adaptation. X-Men changed the game. X-Men showed that comic-book movies could be more than kitsch spectacle or showy theatrics. Superheroes could be *real* people with heart and soul, their villainous antagonists complicated foes, both morally and psychologically; plus, these films could, much like the related genre of science-fiction, work as powerful allegory and social commentary. In other words, comic-book cinema could do what actual comic-books had been doing, without much in the way of critical respect, for decades.

While X-Men absolutely gives in to some of the silliness that weakened comic-book movies of decades past, it also shows what is possible in this sub-genre, and unknowingly lays down a template for the eventual rise and domination of superhero cinema.

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We’re No Angels (1989) – The Filmography of Neil Jordan

In a brand new project, I am going to be looking at the complete cinematic, feature-length filmography of a director in the run up or after a newly-released piece of work.

In the first Filmography project, in the wake of his new film Greta to be released in April 2019, I’m looking at celebrated Irish filmmaker Neil Jordan…

Neil Jordan never quite made a film like We’re No Angels again and you can understand why by the end of his misfiring gangster comedy. In any other circumstances, We’re No Angels could, maybe even should, have been a classic Hollywood comedy that marked Jordan out as a household directorial name.

This was not to be. An even more significant critical and commercial failure than High Spirits, worsened by the fact a great deal more money was involved in the production, Jordan quickly seemed to become aware that the road to Hollywood was not paved in smash hits. We’re No Angels had a script by celebrated playwright David Mamet, high profile A-list stars in Robert de Niro, Sean Penn and Demi Moore, and the biggest budget ever handed down to a production made in British Columbia. Expansive sets were constructed to bring the mid-1930’s prison and small town locations to life. Paramount believed they had the alchemy of a huge hit on their hands.

The opposite was true. We’re No Angels could end up being Neil Jordan’s most forgettable picture and a sign of why he and conventional Hollywood were never going to be a perfect match.

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Mission Impossible: Rogue Nation (2015)

If Mission Impossible: Rogue Nation confirms anything, it’s that the Tom Cruise-fronted franchise has spent almost two decades trying to work its way back to Brian De Palma and back to the roots of where the series began.

In some of my previous pieces on the earlier films in the Mission Impossible franchise, one fact that remains true is how the series consistently reinvents itself every few years in order to stay vibrant and relevant, but oddly enough Rogue Nation on reflection is not as bold a reinvention after 2011’s Ghost Protocol as you might remember. There is greater filmmaking skill involved, with Christopher McQuarrie imbuing more heft into his set pieces than Brad Bird managed in the previous film, while McQuarrie’s script (revised after efforts by Will Staples and before that Drew Pearce, with whom he shares a story credit) certainly has more depth to the storytelling. Beyond that, there is a consistency framing itself between this and Ghost Protocol, one which may well carry through into the next film, Fallout.

Rogue Nation is consistent in how it stylistically reaches back to the first film in the franchise while further mythologising Cruise and his character Ethan Hunt.

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