Opening with a short prologue that's better than all two hours of Gods of Egypt, the biggest X-Men movie to date introduces the first mutant, whose seemingly unlimited powers include the ability to transfer his mind into a new body.
Then things grind to an abrupt halt as the film spends far too much time introducing younger, 1980s incarnations of existing X-Men – although Kodi Smit McPhee's Nightcrawler is a welcome addition – and revisiting the Stryker/Wolverine subplot.
The most interesting of these reintroductions is Magneto's new life as a family man in Poland, before a personal tragedy sees him reverting to his wicked ways and predictably siding with the enemy. Watching Magneto (Michael Fassbender) and Raven/Mystique (Jennifer Lawrence) continually switching sides in every film is getting a tad boring.
But what about the bad guy? Apocalypse is at its best whenever the godlike, eponymous mutant (Oscar Isaac, under loads of latex) is on screen, even if his motivation to destroy the world isn't exactly clear.
The X-Men films have always stood apart from their Marvel siblings by taking a less is more approach. However, in its haste to cram as many characters as possible into a narrative that doesn't really need them (like Rose Byrne's CIA agent), Apocalypse succumbs to the kitchen sink brand of filmmaking that's now de rigueur for superhero epics, burying them and any nuances under a ton of CGI rubble.
It also seriously undermines the mutants' ongoing battle for tolerance and acceptance that has always been at the heart of the franchise. Given the scale of destruction unleashed (it's not called Apocalypse for nothing), it won't be long before the UN are regulating the X-Men like their Avengers counterparts.
Moreover, after three consecutive adventures, it's time for the First Class (and Bryan Singer) to take a school holiday so that Patrick Stewart, Ian McKellen, Hugh Jackman, Famke Janssen et al, can return for a more focused and satisfying installment. And maybe bring Deadpool along.
Then things grind to an abrupt halt as the film spends far too much time introducing younger, 1980s incarnations of existing X-Men – although Kodi Smit McPhee's Nightcrawler is a welcome addition – and revisiting the Stryker/Wolverine subplot.
The most interesting of these reintroductions is Magneto's new life as a family man in Poland, before a personal tragedy sees him reverting to his wicked ways and predictably siding with the enemy. Watching Magneto (Michael Fassbender) and Raven/Mystique (Jennifer Lawrence) continually switching sides in every film is getting a tad boring.
But what about the bad guy? Apocalypse is at its best whenever the godlike, eponymous mutant (Oscar Isaac, under loads of latex) is on screen, even if his motivation to destroy the world isn't exactly clear.
The X-Men films have always stood apart from their Marvel siblings by taking a less is more approach. However, in its haste to cram as many characters as possible into a narrative that doesn't really need them (like Rose Byrne's CIA agent), Apocalypse succumbs to the kitchen sink brand of filmmaking that's now de rigueur for superhero epics, burying them and any nuances under a ton of CGI rubble.
It also seriously undermines the mutants' ongoing battle for tolerance and acceptance that has always been at the heart of the franchise. Given the scale of destruction unleashed (it's not called Apocalypse for nothing), it won't be long before the UN are regulating the X-Men like their Avengers counterparts.
Moreover, after three consecutive adventures, it's time for the First Class (and Bryan Singer) to take a school holiday so that Patrick Stewart, Ian McKellen, Hugh Jackman, Famke Janssen et al, can return for a more focused and satisfying installment. And maybe bring Deadpool along.
loading...
On the Big Screen: X-Men: Apocalypse | ⚡ Share & like anda akan berharga untuk masa depan Juragan Synopsis, So, tunggu apa lagi? segera beritahu teman dan kerabat anda tentang On the Big Screen: X-Men: Apocalypse