So, during all of the hoopla over how the billboard of Apocalypse choking Mystique was sexist, nobody was talking about what a terrible and boring movie X-Men Apocalypse was. All of the innumerable continuity snarls could have been forgiven if Singer had given us a movie worth watching, but this fell into the trap of so many failed B and C tier superhero movies, spending far too much time ‘building the team’ instead of showing the team doing anything. In this case, it’s worse, because both sides have to build their teams on screen and there’s neither character development nor action. And frankly, I’m surprised that there was not more outrage over the decision to make Storm an Arab street urchin instead of a Sub-Saharan tribal living-goddess.
I went into this expecting some awesome fights, cuz, c’mon! It’s Apocalypse! The main things I remember about him from when I was a kid was that he was 10 feet tall, could change size & shape, and pretty much wrecked the shit of anyone who tried to fight him. Instead of cool fights, we got endless ‘building the team’, leading up to one fight that, by the time it happened, I couldn’t bring myself to care about cuz I was so damned bored. It should not have been hard to make an awesome and exciting Apocalypse movie: Apocalypse wakes up with his 4 riders – he destroys a city, and the X-Men try to stop him and get stomped. The X-Men have to devise some way they can actually hurt him. Heck, maybe they could develop a version of “the cure” that can be administered by using Quicksilver as a human railgun. Xavier could be all “Oh, I don’t think this is a good idea, what if it falls into the wrong hands!”, Magneto all “Who are we to deprive anyone of their gifts, especially a god?” and Mystique all “Screw that noise, we really need to stop this guy at all costs”.
But nope, in the end, Apocalypse gets beaten by a fairly mundane, plan-free “by our powers combined” flash that teased at what will most assuredly and lamentably be a sequel featuring po-faced Jean Grey in another Dark Phoenix saga.
I think that X-Men Apocalypse is a tacit admission that all of the best X-Men stories happened 30ish years ago and the semi-historical grounding of the X-Men they were given following their 1975 relaunch that was once an asset is now a liability.
Don’t be fooled by the jive about X-Men’s relevance to historical struggles; during Civil Rights, X-Men was just another supers comic—that didn’t get added until much later. Just like how Magneto didn’t start out as a Holocaust Survivor; he was given that backstory to give him nuance and some justification for his horrible actions in the 80s.
A lot of X-Men’s cultural relevance was that which it took upon itself during the 70s and 80s, and it coasted on that during the 90s. But now that it’s reaching the mid 10s, stories about that group of oppressed mutant individuals (who were not oppressed during their run through the 60s) struggling with Civil Rights and the moral quandary of a troubled individual who survived the Holocaust and whose strawman may have a point can’t be told in the present day. The ancient and withered husks of Ian McKellen and Patrick Stewart fighting at the end of the world in Days of Future Past may have truly been the Last Hurrah of the X-Men of my childhood. Either the X-Men will be all old as dirt, immortal like Wolverine, or they will have to be completely new X-men, because retreading the same three decade patch of culture over and over again with the same characters just isn’t going to work anymore. And having the most recent X-Men movie, which can no longer be considered a prequel, as Days of Future Past obliterated the old continuity, take place in the 80s concedes that.
X-Men Apocalypse is a good sign that it is not only time to stop making X-Men movies for a while but that the entire X-Men franchise needs to be significantly rethought if it can’t be uncoupled from the time-period of its 70s relaunch through its 80s comic and 90s cartoon heydays. X-Men will have to undergo some very serious, soul-searching changes, rebooting their continuity, abandoning the false ties to 60s Civil Rights movement, and, perhaps most shocking of all, have a Magneto who doesn’t cling to the Holocaust as a justification for his evil deeds because he can’t; it’ll reach the point where he’ll either have to be a hundred years old or he wasn’t there. X-Men is finally being crippled by the identity politics that had been its strength over the years since its relaunch – right before our eyes, we’re watching a franchise transition from speculative fiction to period fiction.