One of the things that made the first two instalments of the rebooted X-Men much more interesting than a generic superhero movie was the lack of a super-villain. X-Men: First Class was more of a character-driven drama, a story of two gifted men who meet at crossroads of history and become great friends. The conflict there was an ideological one: should mutants try to control their powers to blend in with society and cohabit peacefully with humans? Or should they embrace their powers, be proud of their identity and, if necessary, kill humans for the sake of their survival? By the end of the film, we saw Professor Charles Xavier (James McAvoy) and Erik Lehnsherr/Magneto (Michael Fassbender) part ways.
From an assured, solid beginning, the X-Men series entered the murky waters of time travel in Days of Future Past .
We had a mini villain figure in Bolivar Trask, a scientist who created giant robots designed to annihilate mutants. But the X-Men, shown in a doomed future, could change all this if they travelled back in time. The film suffered from a lack of clarity about the defined set of powers of the X-Men; it didn’t have the coherence of First Class . But it worked because it was based on relationships between the primary characters. It was about old friends who fell out giving each other another chance.
The problem with Apocalypse is that it doesn’t feel as much a natural progression of its predecessors, as a third part of a blockbuster franchisee. Its central conflict — the ancient mutant who rises from the pyramids — is an archetypal villain that has no organic connection with the first two movies. It feels like an excuse to bring the X-Men, who we saw in the last movie blend in with society, back into action.
The film’s opening is telling. It begins in 3000 BC Egypt. We see a supernatural force shaking up a pyramid. As bodies are buried under what seems like a catastrophe, we are left confused about what exactly happened. A dazzling time travel through the birth of Christ and other political and cultural signposts bring us to the 1980s.
When the ancient mutant (En Sabah Nur/Apocalypse played by an unrecognisable Oscar Isaac) wakes up thousands of years later, sending vibrations across Earth, it changes the lives of the X-Men, who are living in peace. It unsettles the steady rhythm of Professor Xavier’s school, brimming with the youthful energy of new students.
The biblical re-awakening has its ripple effect on Erik Lehnsherr, too, who is living a solitary, peaceful life with his wife and daughter in Poland. The sequence, set in a grubby iron mine where he works as a labourer, marks the return of Magneto. The scene and the one following that are remarkably realised. They are controlled, uncluttered and have minimal spectacle that brings back fond memories of First Class . Unfortunately, the more spectacular it gets from here, the less involving it becomes. You can’t have one X-Men movie after another, where the crisis is resolved with the last-minute change of heart of one of its protagonists. It is a shade darker, but at its core, Apocalypse feels like a recycling of the most potent elements of the earlier two films: family, friendship and the eternal question if mutants are better humans than humans themselves.
Director Bryan Singer makes the material shine when he gives it his light touches: like a clever 80s meta-moment, when we see three new recruits coming out of a theatre playing Back to the Future , discussing how the third part is always the best in the series.
SANKHAYAN GHOSH
X-Men: Apocalypse
Genre:Superhero
Director:Bryan Singer
Cast:James McAvoy, Michael Fassbender, Jennifer Lawrence, Oscar Isaac, Nicholas Hoult, Evan Peters, Sophie Turner
Storyline:With the emergence of the world’s first mutant, Apocalypse, the X-Men must unite to defeat his extinction-level plan
Bottomline:A one-time watch, strictly
