Twentieth Century Fox’s X-Men franchise has emerged as the older, uneven emo cousin to the giddier and more polished Marvel Cinematic Universe. The mutant saga has never been able to recapture the one-two dramatic punch of X-Men and X-2, despite the demi-reboot precipitated by First Class and continued in the superior yet still underwhelming Days of Future Past. Fortunately, the latest chapter, X-Men: Apocalypse, is the first entry since X-2 that captures the poignancy and spirit of solidarity that are the hallmarks of a quality X-tale.
As the subtitle indicates, Apocalypse is another superhero feature that revolves around world-threatening events. In this case, it’s the reawakening of En Sabah Nur (a.k.a., Apocalypse), a powerful ancient Egyptian mutant who once ruled the Nile Valley as a living god. Purportedly the first mutant in history, this villain is able to manipulate matter at the molecular level. In short order, he gathers four disciples to his side, including metal-controlling Eric Lehnsherr (Michael Fassbender), and begins implementing his genocidal, survival-of-the-fittest ambitions. This poses a problem for humanity, and also for the principled mutants gathered together at the school of telepath Charles Xavier (James McAvoy).
Admittedly, there are some missteps in Bryan Singer’s direction and in the committee-assembled script, including hazy character motivations, soggy handling of time and geography, and wheel-spinning as the plot pieces move position. On the whole, however, Apocalypse is an unexpectedly affecting blockbuster, one where the drama is personal even through the stakes are global. Credit goes to Singer’s nimble handling of the tender moments and an ensemble cast that is—with a couple of exceptions—finally hitting its stride. Between the film’s ample adolescent and parental pathos and its Days-like exhilaration at the cinematic possibilities of mutant powers, Apocalypse manages to salvage the series from mediocrity.
X-Men: Apocalypse opens Friday, May 27 in wide release.
