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Review: Despite All Its Little Foibles, ‘X-Men: First Class’ Is Near First Rate

Review: Despite All Its Little Foibles, 'X-Men: First Class' Is Near First Rate

While a titled cross has been key in “X-Men: First Class” iconography (as well as a huge part of its incessant and not-entirely-original marketing campaign), suggesting that “X” indeed does mark the spot, the symbol most associated with the highly anticipated sequel/prequel/reboot/whatever-the-fuck-it-is is a question mark. Things have been leaning to and fro in the buildup to the movie’s release, with pros and cons both flying wildly. Its unequaled cast (including a mix of veterans and up-and-comers including Michael Fassbender, James McAvoy, Kevin Bacon, January Jones, Jennifer Lawrence, Nicholas Hoult and more) was balanced out by reports of an insanely hectic and rushed shooting schedule (ten months to get through production and post-production) and the unvarnished interviews with director Matthew Vaughn, who claimed to have worked with five different cinematographers and was largely unaware of who the crew was on any particular day.

So it is to some degree of relief that not only has “X-Men: First Class” turned out to be a sexy, zippy, entertaining thrill ride that kicks new life into the franchise, negating the previous two “X”-stallments – Brett Ratner‘s ghastly “X3: The Last Stand” from 2006 and Gavin Hood‘s unfathomably even-worse spin-off “X-Men Origins: Wolverine” from 2009.

Though most of the plot has been infinitely spoiled by teaser clips, photos, trailers and more, for the uninitiated, “X-Men: First Class,” dials the clock back on the “X-Men” series brought to life by filmmaker Bryan Singer (an executive-producer in this picture with a story-by credit) tracing the group of secret and heroic mutants to their origins, jumping from the horrors of WWII concentration camps to the heart of the tempestuous 1960s. The film opens similarly to Singer’s film – with a young Erik Lehnsherr (Bill Milhner; Fassbender in young adulthood) being torn away from his parents while being corralled in a Nazi prison camp during World War II. His screams of agony inflame his mutant abilities – controlling and manipulating metal objects. After briefly cutting away to child telepath Charles Xavier (Laurence Belcher as little Xavier; McAvoy as the youthful professor) meeting shape-shifting young mutant Mystique, née Raven Darkhole (Morgan Lily at first, then a more bodacious Jennifer Lawrence), we’re back with Lehnsherr in the camp, tormented by Sebastian Shaw (Kevin Bacon), leader of the villainous Hellfire Club. It’s an abrasive opening for sure, darkly tinged and ominous, and while it doesn’t exactly capture the tone of the rest of the movie, which often fluctuates to incorporate goofy, candy-colored comedy, it gives you an uneasy feeling, which is appropriate; you’ll never know what to expect when it comes to this ‘X’ outing.

When the movie resumes, post-title card, Lehnsherr (now fully inhabited by Fassbender) has become a globetrotting, metal-manipulating Nazi hunter. These early scenes have amazing verve and not just because they cannily call back to Fassbender’s performance as a globetrotting, film-criticizing Nazi hunter in Quentin Tarantino‘s “Inglourious Basterds.” There’s a particularly great scene with Lehnsherr in Argentina that has a moment that made us yelp with geeky glee. Elsewhere, a young CIA Agent named Moira MacTaggart (Rose Byrne) infiltrates a terrorist organization called the Hellfire Club (led by Bacon’s Shaw, along with January Jones as Emma Frost, a telepathic mutant with diamond skin, and Jason Flemyng as Azazel, a devil-red mutant with the ability to teleport), which leads her to eventually seek the help of Professor Charles Xavier (McAvoy, embodying the character with gusto) and Mystique. It’s in these early sequences that Vaughn sets up the movie as a kind of James Bond-with-mutants, with its 1960s setting not necessarily slavishly conscribed to; instead, its sleek, futuristic sheen is applied to the material more as a stylistic embellishment.

But that’s okay. There’s a lot more story to get to after all, mostly built around the titular “first class” – a bunch of mutants that have been rounded up by a united Lehnsherr and Xavier to fight the potential global nuclear threat that Shaw and his evil mutants pose in a covert operation under the guidance of the CIA. None of the new characters – Lucas Till as Havok, the brother to more notable mutant Cyclops who has a similar proclivity for harnessing glowy energy beams; Edi Gathegi as Darwin, an mutant with adaptive abilities that shift to suit the situation; Caleb Landry Jones as Banshee, whose supersonic screams help him fly; Zoe Kravitz as Angel, a big fly that shoots globes of snot or something – make much of an impression, but the young actors are game and work well together. The super-villainous stuff is slightly more arch but still in keeping with the movie’s 60s vibe.

Of course, the real star of “X-Men: First Class” is director Matthew Vaughn. In last year’s “Kick-Ass,” he showcased his ability to handle action film theatrics and superhero derring-do in a swiftly assured manner. That movie had more issues – it was tonally wonky (something he can’t quite shake here) and lost its focus about an hour in (when it stopped being about Kick-Ass and started being about a bunch of other weirdos) – but the fundamentals were there. We noted it at the time: one day Vaughn would take a big budget franchise, and totally kill it. And kill it he does. The action sequences here all have an amazing amount of depth and precision, never falling into the shaky cam abyss of post-‘Bourne‘ action cinema, with characters always both geographically and motivationally identifiable. And what’s more – he has fun with them, stylistically. A training montage boldly takes on the movie-screen-as-comic-book-page conceit originally tried by Ang Lee‘s underrated, art nouveau “Hulk,” with the action being split apart into small boxes. He’s also very concerned with point-of-view – a scene from Emma Frost’s viewpoint splinters the screen into a prismatic diamond; and a moment when Dr. Hank McCoy (Hoult) turns into a furry blue Beast, is entirely subjective; a werewolf transformation from the werewolf’s perspective (even though the Beast costume makes for some ludicrously imposed ADR).

That’s not to say that “X-Men: First Class” is perfect; not by a long shot. Sub-textual dimensions of the time, like, say, the Civil Rights movement or burgeoning feminism, are sidestepped in favor of red scare fear mongering and hamfisted, winky allusions to contemporary politics and issues (a bit dedicated to “Don’t ask, Don’t tell” is particularly overwrought). Overall, there are moments when only a cursory understanding of the era is given (like McAvoy’s Austin Powers-ish use of the word “groovy”) and other times when the time period seems fully invested (particularly in the palpable fear and anxiety of nuclear self-destruction that underlines the film, driven by cultures and people out of sync with one another, fueled by the distrust of the unknown). Which brings us to the dialogue: perhaps the biggest issue in the film, and could have benefited from another pass at the script which clearly, the insane production time line couldn’t allow for. Crossing over from knowingly absurd to outright campy, each actor is left to chew on expositional or thematic dialogue bereft of any shades of subtlety or depth. This is particularly an issue in the weaker first half of the film, largely with the child actors whose performances barely rise above that of a television commercial, which is another issue in itself (though compared to the wooden stiff turn by Jones, these kids are Oscar caliber). The overtures made for fanboys seem unnecessary and while they should assure fans that this is still the “X-Men” they know and love, the cameos — which we won’t spoil here — are both fun and groan worthy (you’ll know exactly which ones they are when you see it). And running a long, nearly 2 hrs and almost 20-minutes, one would still like to sit with a longer cut to give the racing-to-cram-plot-points super hero drama time to breathe. And yet, again to Vaughn’s credit, no character storyline feels shortchanged. It’s just a minor shame that some couldn’t be rewritten with a tone and fromage meter at hand.

But none of this really matters when you have performances as good as they are. It’s Fassbender who walks away with the movie (and leaves you wanting a Magneto standalone film), demonstrating why Hollywood has been chasing his tail for every major film role coming out of the studio system. His, at times, very real and chilling performance as the tortured, handsome, slickly menacing anti-hero that you can’t help but root for, elevates the material that is simultaneously beneath him and most of the elder statesmen of the cast (McAvoy’s graceful and professorial role is thankless in comparison to the juicier and conflicted Erik Lesher). He rages like a man possessed, full of unsettling and unchecked rage and grief. But his efforts would be wasted if not for Bacon’s surprisingly deft villainous turn, emanating a chilling menace that goes toe-to-toe and beat-for-beat with Fassbender. And then there’s the bristling third act and emotionally resonant, bravely bittersweet finale which nearly makes up for all the tonal issues, clunky, corny dialogue and moments of near camp that precedes it. It’s the section of the film where Vaughn truly flexes his muscles, and one wonders what heights the film could have scaled if afforded a real post-production (and hell, proper production) schedule.

For all its many little foibles, “X-Men: First Class,” is surprisingly well-handled and directed; surging forth with the drama and intensity of a global-looming threat. Crackling with high stakes intensity, yet remaining impressively light on its feet and fun, “X-Men: First Class” is the super hero movie to beat this summer. [B+]

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This movie was great. Even though it’s over two hours you’re left wanting much more (in a good way). Also, Fassbender is amazing- I can’t wait to see him in more films where he can really showcase his leading role skills.


Brilliant. Really enjoyable and Fassbender is excellent


i live in France and i just saw it: in my humble opinion,it’s nice and watchable
the good point is McAvoy/Fassbender(great feeling between them and interesting story) and the skirts are very short ;p

my big trouble is for a reboot and if you yet saw the first movies,you have a “déjà-vu” because Vaughn doesn’t renew the serie in using some ideas from the Singer X-Men movies , it’s very repetitive in explanations or too many characters underused
Also some purists may be angry ( it reinvents their pasts or the History and once again,Xavier again meets Wolverine for example) and it’s not impressive to see and some scenes yet were seen in other X-men movies

Mr Anonymous

Rose Bryne is on a roll – XMen, Insidious and Bridesmaids all in one year! Last year all i remember was Get Him to the Greek.

Anyhoo, saw the film today and i thought it was brilliant! Better than Thor. Better than Green Lantern and Captain America, only time will tell but best superhero movie this year hands down! One thing that surprised me is that it’s not just a great superhero movie, it’s actually a great film underneath!

James McAvoy was fantastic as Charles Xavier, totally spot on, but Fassbender – this guy rocks! Pure menace from start to finish. He IS the star of the movie and what an ending! ;-)

Only 1 niggle. For a film which featured a lot of deaths (and contained one solitary ‘fuck’), i was surprised at how little blood there was in thie movie. It’s a 12A but come on guys, if you’re killing people at least make it realistic and show some blood! Case in point – that scene in Argentina with Fassbender was totally unrealistic. You can’t do that and have there be no blood!

Besides that top film and one i’ll be watching again!


So excited to see it on Friday! I’m glad it seems to be getting pretty good reviews.

Drew Taylor

TJL – do you want to ask me out on a date?

Drew Taylor

That’s true. Byrne has some nice moments early on in the film, but is largely sidestepped once the mutants show up. It’s sort of like, she’s a human (and a girl!), no need for her here.

Drew Taylor

The “Creepshow” reference is a good one, although slightly missing the mark – since Romero and King were paying homage to the EC horror comics and Vaughn and Lee were clearly riffing on superhero stories. Good catch though! I like your style!

Kevin Jagernauth

@PB Your comment describes her role in the film pretty dead on. She’s mostly there to bridge X-men and the CIA.


How is Rose Byrne? She seems to be a prominent part of the early story, only to be forgotten later on.


I need Drew Taylor’s email.


Let’s give credit where credit is due, to George Romero and “Creepshow”, which, (inspired, in it’s own right, by Micheal Powell), was the first film to split the screen into simultaneous comic book type “panels” of action.

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