‘X-MEN APOCALYPSE’ REVIEW

Release Date: Wednesday 18th May (UK Release)

Directed By: Bryan Singer 

Written By: Simon Kinberg and Bryan Singer

Starring: James McAvoy, Michael Fassbender, Jennifer Laurence and Oscar Isaac

Distributed By: 20th Century Fox

With the superhero genre doing nothing but growing in popularity, budget and box office returns, it seems strange that one of the first cinematic superhero franchises, still seems somewhat at the bottom of the pile. Given its groundbreaking first film back in 2000 (‘X-Men’) the franchise has gone through some rocky patches without question before finally seeming to get back on track with the two latest reboots (‘First Class’ and ‘Days of Future Past’). Does the latest instalment create the trilogy the franchise deserves?

Helmed yet again by visionary Bryan Singer, ‘X-Men Apocalypse’ begins in ancient Egypt where we meet the first mutants, lead by an aged Apocalypse who, in order to continue his reign, must move his consciousness to a fresh host. The process is halted however, leading to the titular Apocalypse buried deep within the Egyptian ground. We then jump to 1983 where we catch up with our favourite mutants post ‘Days of Future Past’. Here Mystique (Jennifer Laurence), now seemingly rid of lifelong friend and mentor Charles Xavier, is working to save fellow mutants from the still hostile humans who still fail to see equality as an option with the mutant race. The previously mentioned Xavier (James McAvoy) seems done with conflict and now only wishes to create a place for mutants to learn and feel safe with Hank (Nicholas Hoult) by his side. Fassbenders Magneto is now living incognito in Poland and has started a family, seemingly also done with plotting to put humans in their place. With all loose ends somewhat tied, the awakening of the ancient Apocalypse (Now wielding the face of the chiselled Oscar Isaac, in a prosthetic laden form), kickstarts a new fight once again between mutants old and new, between enemies old and new.

In its early days, one of the more notable achievements of the franchise, lied with the seemingly spot on casting choices in both look and performance. Indeed this similar appeal occurred with the reboot, Laurence seeming a perfect choice for feisty skin changer Raven. Here however, the once empowered and scrappy character, becomes somewhat soulless and something of nothing more than a means to drive the narrative. The slew of new characters introduced have varying degrees of success with the likes of Kodi Smit McPhee’s Nightcrawler and Tye Sheridan’s Cyclops set to become new favourites, the prior blending childlike innocence with the heir of goofy charm. The same unfortunately cannot be said for the likes of Ben Hardy’s Angel (the rebellious bad boy act coming off as hollow arrogance) and Olivia Munn’s Psylocke who appears to become nothing more than a flexible female in thigh high leather boots. 

It is evident from the off however that the poor performances are not all due to the actors themselves as the writing of the characters and indeed overall plot soon become the films primary weaknesses. Indeed even returning characters such as the fan favourite Quicksilver who wowed audiences in the last instalment, becomes infatuated with incredibly heavy sub plots which add to the already complex narrative, leaving them unanswered and therefore obsolete at the finale. The relationship between previous allies Xavior and Magneto is also run through the mill with a somewhat deja vu effect, with the ever present McCoy given little to do except ‘test’ and ‘invent’ with little to no follow up. The fluidity of the narrative proceeds to entangle even further with a fleeting cameo bordering on breaking the already complex timeline of our mutant heroes.

The reveal of big bad Apocalypse also packs much less of punch than the arrival of the ‘most powerful mutant’ would have you believe. From here the heavily made up Isaac (Heavy which borders on campy) proceeds to globe trot, Stargate style in order to collect his ‘Four Horsemen’, ideally the ‘most powerful mutants’ around. With only one of these members coming close to that title, the writing issues only grow in severity. With an objective to cleanse the world and start again, you'd think you'd want a bit more power than a boy with metallic wings (Religious symbolism aside) and a girl who has the power to manipulate the weather (Whilst sassy, Alexandra Shipp’s Storm is simply not given enough to do). Indeed say from assembling these Horsemen, Apocalypse soon becomes nothing more than a hollow maniacal powerhouse with no reasoning or motive for annihilating the human race and as a result, somewhat two dimensional and not at all leading up to the god many refer to him as. 

In a year which sees Superheroes turning on each other, (Sometimes to great effect, others much less so) ‘X-Men Apocalypse’ carries elements of both Snyder’s ‘Batman vs Superman’ and the Russo Brothers’ ‘Captain America: Civil War’. Unfortunately however, these are the problematic similarities which leave it being inferior to Marvel’s Superhero Smackdown as it carries the same issue of having too many strands to neatly bring together, stemming from an overflow of characters both old and new, with the returning faces given very little to do say a chosen few and introducing new characters, making it a very difficult balancing act in order to flesh out and give the characters the introduction they deserve. The parallels between the DCU’s maiden film are far more problematic in that the pace of the story telling is sporadic at best. With a Quicksilver esque pace, the narrative jumps between characters old and new with little consideration for tonal appropriation. Indeed much like Snyder’s mess of a Superhero showboat, the lack of humour is heavily apparent with even Evan Peter’s usual swift and snarky superhuman raising few moments of relief.

With Singer back in the directing chair and contributing to the writing of the story, it is unfortunate that the usual visual excellence becomes more of a Computer Generated slur instead of breathtaking visuals we’ve come to expect. If the likes of ‘Man of Steel’ and ‘Batman vs Superman’s climactic endings hung on empty citywide destruction, ‘X-Men Apocalypse’ takes this snore inducing trope to a new level as multiple cities are near levelled yet fail to carry a single ounce of human weight and very swiftly becomes another empty climax. 

Now in its 16th year and 8 films in, the X-Men franchise sits similar to where it did in 2006 following “Last Stand’. Whilst it does succeed in setting up characters which could become great with Fassbender and McAvoy on usual top form, almost in another film entirely. At the midway point as the young mutants exit a screening of ‘Return of the Jedi’, Jean states “The third is always the worst”. Whether a laugh at the expense of the previous second sequel in 2006 or simply being accidentally self referential, out of the latest reboot trilogy, Singer fails to bring together a flowing narrative with a genuine sense of scale, threat or wonder a franchise this many films in should should really be achieving. 

"Everything they've built will fall and from the ashes of their world, we'll build a better one" - Apocalypse

‘GREEN ROOM’ REVIEW 

Release: Friday 13th of May 2016 (UK Release)
Directed By: Jeremy Saulnier
Written By: Jeremy Saulnier
Starring: Anton Yelchin, Imogen Poots and Patrick Stewart
Distributed By: A24

When discussing the genre of the ‘Siege Movie’, immediately you’re thrown back to the likes of Carpenters ‘Assault on Precinct 13’ and maybe even the occasional flash of Steven Seagal. In Jeremy Saulnier’s ‘Green Room’ however, conventions and presumptions are treated with the same unwavering malice as the characters in his grimy, gut wrenching, gore splashed thriller.

Opening with the introduction to our morally questionable protagonists ‘The Ain’t Rights’ who’re living the traditional up and coming band lifestyle. Living out of a van with no money, gasoline or gigs, the group are syphoning fuel in order to finish their ‘tour’ on the Pacific Northwest American road. A fortunate interview however manages to link the group to a matinee gig playing for a ‘Boots and Braces’ Right Wing movement, fittingly enough based within the deep woodland. Following a less than rip roaring set, opened wryly with a cover of Dead Kennedys ‘Nazi Punks Fuck Off’, the band head back to the Green Room only to walk in on a crime scene. After being swiftly locked within the room alone say for Imogen Poots’ Feather cropped Amber and a member of the ‘movement’ with a gun, tensions rise and fall in wonderfully uneven succession.

Fronting this cast is Star Trek regular Anton Yelchin, who quickly becomes the groups leader, attempting to rally the comradely with a somewhat ill chosen paintball story before the anti is well and truly upped by the arrival of Patrick Stewart’s menacing club owner Darcy Banker. The performance reminiscent of Cranston’s iconic Walter White, except here the Mr Rogers aesthetic is wiped away and instead brings both a visual and thematic  callback to his Methamphetamine Kingpin Heisenberg, except this time he’s the leader of a brutal group of Neo Nazi’s. Stewarts soft and subtle playing of the role parallels the equally soft approach, Darcy takes to the situation arising in his property, indeed one of the first lines of dialogue he exchanges with the gang “You’re trapped – that’s not a threat, just a fact,” before assuring them “it won’t end well”. A line which comes all too true with gut wrenching swiftness. 

 Following on from his 2014 revenge hit ‘Blue Ruin’, Saulnier proved that small scale film making can easily engross and  enthral. His third feature is no different here. Taking place primarily within the isolated cabin, (harking back to the Grindhouse corner of cinema prominent in the 70’s and 80’s) ‘Green Room’ displays heart pounding tension on a fresh and unpredictable level as the group must band together, ‘Straw Dogs’ style in order to bash, shiv and slice their way out. The tension is skilfully intercut with bouts of extremely graphic gore. Though not on the absurdity of the likes of torture porn classics such as the ‘Saw’ or ‘Hostel’ franchise, the points at which the violence arrives gives for a much deeper pang in the stomach, allowing for a much more engaging and at times arresting hour and a half of cinema.

The socio political themes within the mix here are initially portrayed as a good against evil setup with the anarchic punk band squaring off against the outnumbering Skinheads. This again however is where Saulnier’s story telling prowess blossoms as the morals upon both sides are pulled apart and swirled together in the same rhythm sensation of the light, ambience emphasising soundscape, composed by Brooke and Will Blair, juxtaposing perfectly with the various bouts of high energy, heart pounding thrash metal. At the centre  of these questionable morals is Stewarts Darcy who from the off has a clear agenda and modus operandi in order to see the problem taken care of by dawn, his way or no way at all. 

With regards to the Production crew, Julia Bloch returns having worked as Editor on Saulnier’s previous feature ‘ Blue Ruin’, again creating an unnerving sense of palpable tension, whilst also letting the sporadic moments of visceral violence play out real time, fittingly enveloping the viewer within the sense of horror and at times desperate hopelessness of the situation. Another notable mention is Sean Porter’s exquisite cinematography as the dark hues both inside and out the club serve as a representation of the maniacally murky acts taking place to our trapped heroes. Most notable however is a scene which perfectly highlights the sense of fear, sheer adrenaline and brutality of a crowded moshpit.

Clearly moving from strength to strength, Saulnier is sure to soon jettison in profile as one of the expert young story tellers of the 21st Century. This becomes more apparent as this project was successfully chosen and given the green light (All puns aside) due to his knowledge that he knew he would not get the opportunity to craft a film as bleak and visceral as “Green Room’ and so believed the time was right. A decision well made as it is questionable as to whether any novice director would succeed in creating an edge of your seat, thought provoking Thriller with equal parts bark and bone crunching bite as Saulnier has championed here.

"This will be over soon Gentlemen" - Darcy Banker