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All I will say is it will have you leaping off your seat with joy.Īlong the way, Bryan Singer controls the camera in a smooth and silky manner, while including detailed human touches to the action and the X-Men’s use of their powers that get under your skin and are striking to see. The opening in Ancient Egypt is immediately rousing, while Apocalypse somehow manages to top Days Of Future Past’s Quicksilver set-piece, and I won’t go into the other in any detail whatsoever for fear of spoiling it.
Not only are they re-treading old ground, but they're pushing the most engaging pair from the series, Charles Xavier and Magneto, more to the sidelines.īut there's still more than enough to make X-Men: Apocalypse captivating, as it features three scintillating action sequences that are right up there with the best the franchise has ever produced. My only concern is that while Marvel have been able to, mostly, build their universe chronologically, X-Men's decision to go back in time with First Class means that the franchise is becoming convoluted.
The new additions merge into the world seamlessly, too, teasing that the franchise’s future is in safe hands. The established ensemble all excel, though, with Michael Fassbender giving Magneto a Shakespearian poise, while James McAvoy has never looked more comfortable as Professor X. There’s just too much grandstanding, and it feels like you’re watching a WWE stand-off.
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Overwhelmed by make-up and his costume, Isaac is unable to deploy any of the personality, charisma, or complexity that has made him one of the most in-demand actors in American cinema, while the final sequence is too reminiscent of other battles from the series to strike a chord. Unfortunately, Isaac’s Apocalypse is similar to Tom Hardy’s Bane (rather than Heath Ledger’s Joker), as he’s just brawn, brute, monosyllabic and rather dull. His augmentation is sabotaged, though, which results in him being trapped for centuries.īut after its opening act, Apocalypse never pushes on or becomes more potent, with the sight of Oscar Issac’s Apocalypse traveling to pick up Olivia Munn’s Psylocke, Alexandra Shipp’s Storm, Ben Hardy’s Angel, and Michael Fassbender’s Magneto being more plodding rather than enthralling. X-Men: Apocalypse primarily takes place in 1983, but it begins in ancient Egypt where Oscar Isaac’s En Sabah Nur/Apocalypse, the world’s first mutant, looks to merge with Celestial technology to become even more powerful.
Plus, some of its apocalyptic action even brought on a touch of the dreaded superhero fatigue. It tries to juggle too many plots and subplots, including introducing us to younger versions of characters we’d previously met and adored over a decade ago. But it ultimately lacks the cohesion and energy of Days Of Future Past.
Apocalypse is also still resoundingly entertaining. So when I say that X-Men: Apocalypse is Singer's worst effort in the series to date (but still obviously better than Last Stand, and even First Class or any of the Wolverine films), that’s only because of how scintillating his previous efforts were. 2000’s X-Men and 2003’s X2 helped to both legitimize and kick-start the comic-book boom, while 2014’s X-Men: Days Of Future Past eclipsed both of them and is right up there as one of the finest ever entries to the genre.
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