It was not that the films were terrible, although some certainly were. It was more than they felt somehow isolated. These were properties steeped in history, with years or years, that inspired their characters, but seeing their celluloid versions gave no idea of the larger universes from which they came.
Then came the 21st century. Then came the mutants.
From its opening scene, the 2000s X Men signaled its difference. There was no rescue mission, no stoicism to the mouth, no vigilant escape. Instead, a concentration camp. Poland, 1944; Detained Jews walking inside by Nazi guards. A child separated from his parents and dragged away, reaching out to them with a low breath, his anguished physique prevails over physics and forces him to open an iron gate. This is how you meet the young Erik Lehnsherr, later called Magneto.
This film not only recognized the allegories of Marvel's X-Men comics, but embraced them. The mutants of Stan Lee have always been a metaphor for any marginalized group, whoever hated and feared for the strength of his identity. To reduce Magneto's mutant supremacism and Professor X's kumbaya approach to the Malcolm X-MLK dichotomy, the reduction may be reductive, but director Bryan Singer nonetheless relied on the resonance of civil rights. internal fight that the chop actor he deserved.
Subtext separately, X Men wrapped his long past around himself, as no cartoon movie has ever existed. Superman may have had Lex Luthor and Batman may have had the Joker and a gallery of other nemesis, but they were characters. X Men made of his mutants legends, rumors that whispered in a world far beyond that displayed on the screen. At first, at a Senate hearing, a politician mentions the report "of a girl who can cross walls"; Kitty Pryde may not have been shown later in the film, and only then in a brief anonymous cameo, but even a reference like that winking at insiders. (And when did she show up later at the school for Xavier's gifted youngsters? With Jubilee, Iceman and Colossus at his side?) That you knew the group of young people. teenagers at sight or that you later discovered it from an excited friend, you knew that there was to borrow the slogan of another franchise, more than it is to the eye.)
Peter Rubin writes about media, culture and virtual reality for WIRED.
When a movie has turned into two, then three, things have changed. Brett Ratner showed to lead 2006 X-Men: The last fight and immediately shriveled, donning the hilarious at once "I am the Juggernaut, bitch!" even in one Never-hilarious current movie scene. (Ellen Page, if you're reading this: we all know this should never have happened, and we're sorry.) Nevertheless, the film went beyond the box and returned to its abundant source; 13 years before Dark Phoenix, The last fight embedded elements of the arc of the Dark Phoenix story of the comic.
This continued after a much needed restart. A new generation of X-Men films inspired comics: 2013 The wolverine finds its motivation in the 1982 series of the same name by Chris Claremont; next year X-Men: The days of the future past takes its name and intrigue from another arc of the history of the early 80s; even 2017 Logan, detailing the last days of Wolverine, is born from a comic book.
Meanwhile, throughout Hollywood, rights-holding studios have finally begun to wake up in front of the gold mines they were sitting on. Sony handed Spider-Man to Sam Raimi; Fox tried to extend his own luck by sending the Fantastic Four to battle and distributing records from New Regency. Daredevil and Elektra; After leaving the X-Men franchise, Bryan Singer has Superman Returns for Warner Bros. The results, to put it diplomatically, have been mixed. No one was able to do what X-Men movies did: create a vibrant and vast cinematic world.
At least until a guy named Kevin Feige becomes president of Marvel Studios. Feige had been a related producer on the original X Men, and I brought that sense of reach – with a love for comic history – to the first feature film of his new work. 2008 Iron Man It may have been an isolated story, but when the final credits gave way to a surprise scene, fans had the first idea that things would become much more ambitious than a mere sequel.
What has happened since, of course, is well known to those who have purchased a movie ticket over the past decade. The film universe Marvel has stitched more than 20 films to form a set of interwoven narratives. The X-Men franchise, on the other hand, you have never really managed to keep its original promise. Affected by mediocre scripts and bewildering guidelines, he did not leave a lasting impression.
Like this Dark Phoenix is an appropriate swan song. In one way or another, both in wood and muddy, his few bright spots give you only enough fodder for a not too ironic discussion about "What was worse X-Men: Apocalypse"He wants to take it seriously, he makes sure he and the people" kiss "at least twice, he wants to know how powerful Jean Gray's power is, which forces Professor X, a paraplegic, To dance and ride in a flight As a Cyclops, Tye Sheridan seems stunned by Storm, Alexandra Shipp glares at her, everyone looks lost or unhappy (their hands, however, look Great.)
Now that Fox officially belongs to the parent company of Disney-Marvel Studios, the future of the franchise is very uncertain. The X-Men, as well as Deadpool and the Fantastic Four, could have a bright future in a post-Avenger MCU, but nothing less than a complete reboot is unimaginable. And if that happens, Feige and his team would do well to follow Magneto's advice Dark Phoenix: Stop with the speeches, nobody cares.
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(tagsToTranslate) X-Men (t) Movies (t) Comics</pre></pre>