Singer’s biggest stroke of luck lies in his cast (many of whom, granted, are contractually obligated to appear): Michael Fassbender is an extraordinary thespian with the ability to make good of even the worst dialogue.
Even with a cast of ridiculous-looking comic-book characters to juggle, he has managed once again with Apocalypse to inject an admirable amount of dramatic weight into a film with overwhelming potential to be painfully weightless. The recent Captain America: Civil War aimed to tell an important political story, but suffered terribly from the air of frivolity it bore and the sense that it was- as most modern blockbusters are- made solely to sell toys. Bryan Singer is, for better or worse, a serious filmmaker, having tackled World War II and the Holocaust in several films to varying degrees of success. It’s easily viewed as a tacky and inappropriate use of real-world horror to tell a story about magical people with special powers to an audience of children and teenagers, but one positive thing is does represent is the constant, unrelenting desire of the X-Men franchise to be taken more seriously than their genre counterparts. There is a scene of questionable taste in Bryan Singer’s X-Men: Apocalypse, in which blue-skinned villain En Sabah Nur (Oscar Isaac) and his “Four Horsemen” pay a visit to present-day Auschwitz. Wet Hot American Summer: Ten Years Laterīryan Singer’s X-Men: Apocalypse has all the ingredients of an abysmal film, yet entertains with its lively opera of poor decisions.The Increasingly Poor Decisions of Todd Margaret.
X men apocalypse film review series#