WRITER’S NOTE: The following reviews were originally posted on my Instagram page @be.kerian.
X-Men (2000)
Comic book movies were scarce throughout the last quarter of the 20th Century. While Superman and Batman presented colorful if divisive watermarks, most of the other “superhero” entries were dark fantasy thrillers, from The Crow to Blade. It wasn’t until we entered the 21st Century that the first of many such movies started (to paraphrase DreamWorks co-founder Jeffrey Katzenberg) a revolution, not an evolution.
Watching the X-Men animated series in the early-90s was like a rite of passage, much like Teenage Mutant Ninja Turtles, Batman, and Spider-Man. So you could imagine our excitement when a live-action version of Stan Lee and Jack Kirby’s series about social outcasts with superhuman abilities was coming to the big screen. Directed by Bryan Singer (The Usual Suspects), X-Men managed to be both intense and entertaining. Brooding and dynamic. Thought-provoking and action-packed. It featured some cutting-edge (if dated) VFX, and was stacked with some A-list talent (including Anna Paquin’s power-absorbing Rogue, Halle Berry’s weather-controlling Storm, Famke Jansen’s telekinetic Jean Grey, James Marsden’s laser-eyed Cyclops, and a then-unknown Hugh Jackman as the claw-fisted Wolverine).
The story itself is uneven, keeping the backstories of many of the characters a mystery. Instead, the filmmakers put us right in the middle of the action and focus on different storylines dealing with evolution and human rights, represented in Bruce Davidson’s prejudiced U.S. Senator Kelly, Patrick Stewart’s compassionate professor Charles Xavier, and Ian McKellan’s retaliating Magneto. It’s a good balance of thought and spectacle.
Then there are the suits. With the possible exceptions of Storm, Rogue, Toad, and the shapeshifting Mystique (a titillating character overall), the suits lack the colorful imagery of the comics and cartoons (something video essayist Kaptainkristian criticized the film for, and understandably so). Then again, the non-costume wardrobes for each respective character make up for that in a way. Still, that color could’ve made a difference in this tentpole that otherwise ushered in a new millennium of blockbuster cinema.
X2: X-Men United (2003)
Considered to be one of the first superhero sequels of the 21st Century (after Blade II) to surpass its predecessor, X2 expands its singular universe with more intense action and deeper character arcs. And for a large ensemble team-up, the movie ironically doesn’t feel overstuffed.
X2 opens with a bang, as the teleporting circus performing Nightcrawler (Alan Cumming, in what may be his best screen role) breaks into the White House. But the real conflict begins when the anti-mutant Colonel William Stryker (a menacing and chilling Brian Cox) orders an attack on Charles Xavier’s school and plans to manipulate and control Xavier (and his mind-reading abilities) to eradicate the entire mutant population.
Bryan Singer steps behind the camera once again to direct several returning players, including Hugh Jackman’s Wolverine (on a search for answers to his mysterious past), Famke Jansen’s Jean Grey (who starts hearing voices and senses that something terrible is on the horizon), Patrick Stewart’s Professor X, Shawn Ashmore’s Iceman (who has a complicated relationship with his own family, and a potential romantic one with Anna Paquin’s Rogue), Rebecca Romijn-Stamos’ shapeshifting Mystique (who has a bit more depth, but is still little more than objectified eye candy), and Ian McKellan’s Magneto (who forms an unlikely alliance with the main heroes to stop the aforementioned plan).
The film works more as an episodic roller coaster (it does seem to underplay a few of its characters, like James Marsden’s Cyclops and Halle Berry’s Storm), while its action gets more gripping and even disturbing; Wolverine’s (mostly bloodless) rampage in an earlier scene, and a claw-to-claw brawl later on, really test the film’s PG-13-rating. And while some of its themes of prejudice and identity can be a little subliminally political or agenda-driven—its sexual content is more problematic as well—there are surprising themes about faith and finding community. To paraphrase Spider-Man’s Uncle Ben, just be careful how you interpret those themes. And never forget how sharp those claws really are.
X-Men: The Last Stand (2006)
For every success that Marvel had to offer this decade, there were as many (if not more) letdowns. From the violent and mediocre Daredevil, to the sluggish and depressing Hulk, and even the cheesy-but-fun Fantastic Four, these films didn’t live up to expectations—or missed the mark, one way or another. The same could be said for sequels in the X-Men franchise.
With the third installment, The Last Stand, Brett Ratner replaced Bryan Singer as director (the latter decided to make a Superman movie at Warner Bros.), while most of the original cast and crew from the first two entries returned. Screenwriters Simon Kinberg and Zack Penn attempted to adapt the well-regarded "Dark Phoenix” saga from the comics, while also telling a story of scientists who have developed a “cure” to reverse genetic mutation, with conflicting issues (political and ethical) of intolerance and acceptance thrown in. The results were lackluster.
And it’s not just the fact that this sequel was reportedly rushed by the studio. The Last Stand made the polarizing decision to kill off or “cure” some of its key characters, while others (like Anna Paquin’s Rogue, Ben Foster’s Angel, and Famke Jannsen’s Jean Grey/Phoenix) are underwritten or given little to do. Its themes about the use and misuse of power and control are intriguing and constructive (ditto themes of leadership and teamwork), even if they’re a little cliché. Some language choices, on the other hand, are harsh. Certain characters wear revealing outfits. And the violence is more brutal and gripping, as is the emotional weight of the story.
I will say this: the perfect casting of Kelsey Grammer as Hank McCoy a.k.a. Beast was the best part of this movie—and not because he’s my favorite X-Men character. (Rick Baker was credited as a makeup effects consultant.) This was also the first movie that used de-aging technology, which put Patrick Stewart and Ian McKellen back in their prime for an opening scene. And that post-credits bit: wow! But The Last Stand is a mixed bag overall, and the story and characters deserved better. That’s where the attempted Origins spinoffs came next . . .
X-Men Origins: Wolverine (2009)
At first, it seemed as if Fox attempted to expand the X-Men franchise with an origin story of Hugh Jackman’s grizzled Wolverine. Instead, what we got was a retcon of the titular mutant’s history, while several other Marvel characters made underwhelming screen debuts. The result was an abomination of a superhero movie.
Opening with Logan as a child in the mid-1800s, with bone claws (wait, what?), up to his reluctant participation in a governmental experiment that replaces said claws with adamantium metal, X-Men Origins: Wolverine tries to do too much. And not just within its first 10-20 minutes. They even inserted Logan and his screen brother Victor Creed a.k.a. Sabertooth (Leiv Schreiber, rebellious without a cause) into various wars, including stock footage straight out of Saving Private Ryan.
The movie is loud and highly stylized, with lazy (sometimes childish) dialogue, unbelievable action (sometimes to a bludgeoning, even disturbing, pulp) that’s more laughable than gripping, and very poor CGI (including the most fake claws Wolverine has ever sported, not to mention an ever-infamous climax that sewed Deadpool’s mouth shut and gave him multiple powers). And don’t get me started on that farm sequence. Wolverine doesn’t even act that surprised at his new claws. The same could be said for an obvious connection to the original film series.
Jackman subsequently admitted that he wasn’t happy with how this movie turned out. After all, X-Men Origins takes itself too seriously and rushes. (This movie was deeply affected by the 2007-2008 Writer’s Strike.) Lynn Collins (as love interest Kayla Silverfox) and music artist Will.i.am (as the teleporting John Wraith) are exceptional, on the other hand. Ditto appearances by mutants Cyclops and (who looks like) Emma Frost. They should’ve done more with Taylor Kitsch’s Gambit. Alas, like other characters (and the movie itself), he goes as quick as he comes.
A spinoff centered around Magneto was planned, but never came to fruition. Instead, the studio decided to reboot the series with a new, younger cast. (More on that later.)
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