Review: X-MEN FIRST CLASS - Outstanding Comic Book Movie
rating: 4
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(Our second glowing review of the film)X-Men: First Class is not a good comic book movie; its an outstanding comic book movie. A common criticism of panel to frame adaptations is the infantilising of the material. Theme and character have all too often been sacrificed for sensation, with very few filmmakers understanding that comic books, though part of the iconography of childhood, are in fact sumptuous allegory factories; an alternative literature that uses fantasy as a tool to explore pertinent social questions. Matthew Vaughn understands this very well. His origin story, arguably the franchises strongest, embodies the question on which X-Men pivots, namely reactions to intolerance, in the form of a young Charles Xavier and Erik Lehnsherr. This, fundamentally, has always been what this series is about, the notion of whether you overpower fear and hatred with more of the same, thereby losing your moral authority, or meet the challenge with understanding and optimism, hoping to effect by example. This, were reminded, in a series of vignettes, is not a simple choice, not least because whatever the differentiation from the default norms that make us all, strictly speaking, beige, were all human and consequently enslaved to a destabilising and polarising nature. The film, set in 1962, plots the formation of two groups of Mutants familiar to fans of the series; the brotherhood, a supremacist movement headed by Holocaust survivor, Magneto, intensely realised by Michael Fassbender, and the titular heroes, lead by moderate Oxonian, Professor X, charmingly played by James McAvoy. This dichotomy is created against the backdrop that informed the creation of the comic books; nuclear proliferation, humanity ideologically divided with clear lines of demarcation between the Superpowers, profound and painful social upheaval, particularly in the United States, a country feeling the full weight of the civil rights movement and a world still subordinate to the legacy of the Second World War. Bryan Singers original X-Men movie skipped over this in a single cut, so Vaughns represents something of a restoration; he starts where Singer started, with an identical Auschwitz prologue, going on to tell the story that arguably should have been told all along. The result is a movie that wears the trapping of a sixties espionage thriller like a well tailored suit, from cold war skulduggery, to ships that house submarines, to a war averting climax, while carefully teasing out the themes that preoccupy the characters. Consequently the balance between crowd pleasing action and characterisation is a tenfold improvement on Gavin Hoods perfunctory and listless Wolverine movie, and whisper it quietly, Singers originals.