X-men: First Class - 2011

X-men: First Class

First Class is a welcome return to beginnings both cinematically and in narrative.

Opening with scenes taken from Bryan Singers original X-Men where Erik (who will become Magneto) discovers his mutant power, First Class confidently walks the path made before it, but goes on to blaze a new trail of its own.

Having left Last Stand angry and downright broken hearted, vehemently hating the name “Brett Ratner”, vowing that should I ever cross his path I would tear out his heart and shove it down his throat and make him choke to death….sorry.

Rant over. I apologise. It still hurts.

I still have not seen Wolverine, my best friend forbids it. Hell, I forbid it! But after seeing First Class I am happy to see it return to form. I only hope it stays the course.

It is no doubt that the film is what it is because it starts with a credible story and script, has a strong cast and passionate director and producer. Director Matthew Vaughn successfully helmed last years sleeper hit, the ever-violent Kick Ass while Bryan Singer who directed the first two films, stepped in to offer assistance creatively and in a producing capacity. Singers subtle inflections  and influence are noticeable throughout the narrative and production.

The story is great at setting up a new, and earlier, chapter of the franchise; starting in 1944 at the peak of the German invasion and travelling through to the 1960’s when the US was heading into the Cuban Missile crisis. Some exposition allows the story of Xavier (James McEvoy) and Erik (Michael Fassbender) to come to the fore which then continues on through the rest of the film. This really is a story about them and their internal battles; Xavier believing that the human world will accept them and Erik knowing that they will not. And this is where the story finds its strength.

There is no doubt that X-men (the comic) is about human vs mutant and the deep rooted feelings of isolation, rejection and loneliness we all feel. The X-men are simply caricatures of humanity, hidden behind a power rather than a mask. First Class subtly weaves this through the core of its premise.

What is also appreciated is that we get insight into is the friendship that Xavier and Eric share, right up to the fateful moment that puts Xavier in the wheelchair. Given that we only catch glimpses of this love/hate relationship in the previous films, it is refreshing to see especially for those who have not read the comics, however, for a prequel or reboot (or whatever you want to call it), perhaps a second film could have been focussed on Eriks decision to create the Brotherhood. What I missed was the reference to Erik helping Xavier create the ..., but this could easily be visited in another film, they have always needed each other (as we see in Last Stand the exposition for Jean Greys character, they are friends meeting her together – although Erik has ulterior plans).

The cast of mutants is impressive and as this is a film to set up the “origins”, each mutant gets adequate introduction and development (unlike previous films...sorry!).

Hot-property-of-the-moment, January Jones (Mad Men, Unknown) makes a delicious sight as the scantily-clad, diamond-telepath Emma Frost. There’s certainly more to this woman than meets the eye! And everyone’s favourite shape-shifter Mystique (Raven) is introduced as a 9 years old who befriends Xavier which is a nice touch to the overall development of the story and a through line that will come full circle in the later films. It’s an opportunity to provide the juxtaposition of Erik – who believes all mutants should embrace who they are and Charles (Xavier) who believes mutant powers should be concealed so that humanity will accept them. The core fight between acceptance and rejection lies squarely on Mystiques shoulders and carried confidently by relative newcomer Jennifer Lawrence (Winter’s Bone).

Director Matthew Vaughn (Kick Ass, Layer Cake) proves again he has flair for the comic-book adaptions, perhaps even better than Singer and must have enjoyed working with more money and scope to create a huge, and sometimes epic, motion picture. The scale of the action is mountainous and works hand-in-hand to propel the narrative forward as opposed to just being in it for the sake of the genre. Matthew Vaughn best be careful, lest he becomes the king of the comic geeks.

In all, this is a brilliant film worthy of its positive critical acclaim.  

Solid 4.5 popcorns out of 5