In the 1960s, superpowered humans Charles Xavier and Erik Lensherr work together to find others like them, but Erik's vengeful pursuit of an ambitious mutant who ruined his life causes a schism to divide them.
The human government develops a cure for mutations, and Jean Gray becomes a darker uncontrollable persona called the Phoenix who allies with Magneto, causing escalation into an all-out battle for the X-Men.
When bitten by a genetically modified spider, a nerdy, shy, and awkward high school student gains spider-like abilities that he eventually must use to fight evil as a superhero after tragedy befalls his family.
Before Charles Xavier and Erik Lensherr took the names Professor X and Magneto, they were two young men discovering their powers for the first time. Before they were archenemies, they were closest of friends, working together, with other Mutants (some familiar, some new), to stop the greatest threat the world has ever known. In the process, a rift between them opened, which began the eternal war between Magneto's Brotherhood and Professor X's X-MEN.Written by
Twentieth Century Fox
Aware of his character's love connection with Moira MacTaggert in the comics (in which they're both adults), Caleb Landry Jones tried to look at her "a bit more differently" always when he could on screen, so fans would notice that. See more »
(at around 18 mins) In the hotel, when Moira spies on Sebastian Shaw, there's a bowl of M&M's on the table. Some are blue, a color not added to M&M's bags until 1995. See more »
Mother. What are you... I thought you were a burglar.
I didn't mean to scare you, darling. I was just getting a snack. Go back to bed. What's the matter? Go on, back to bed.I, I'll make you a hot chocolate.
Who are you? And what have you done with my mother?
[telepathically in her mind]
My mother has never set foot in this kitchen in her life. And she certainly never made me a hot chocolate, unless you count ordering the maid to do it.
[...] See more »
Part of the closing credits take place in a sequence of X-symbols, chromosomes and DNA strands (reminiscent of the opening credits to Dr. No (1962)). See more »
A prequel that does not, in any way, suck. Amazing, isn't it?
There came a point, about half way through this film, when I emerged from the world of wonder on screen, took stock of my emotions in that instant, and realized that yes, by God, I am LOVING this movie.
I didn't really expect to, of course -- although certainly, I hoped for it. With such an incredible cast, an able director at the helm, a story of Bryan Singer provenance and the inclusion of some of my favorite, if lesser known, X-types (Darwin! Tempest! Havok!), I was eager to see this beloved band of merry Marvel mutants redeem themselves after the massive failures of X3 and X-MEN ORIGINS: WOLVERINE.
Which they do. And how!
One thing that the avid comic fan must do when approaching this movie, however, is to divorce themselves utterly from almost all established four-color X-Men continuity. Oh, some bears up, but by and large this is a whole new origin story, a reboot of epic proportions, and yet it is a retcon so cleverly done, and one that offers up a such a delicious mélange of complex relationships and sensible motivation, that all of the many discrepancies inherent in having Mystique on the side of good or having Moira McTaggert a CIA agent simply do not matter.
Speaking of McTaggert, Rose Byrne is both comely and convincing in the role, and almost every other actor is perfectly, one might almost say forcefully, cast. McAvoy brings a kind of laddish charm to Charles Xavier that he mixes nicely with both decency and naïveté, and Michael Fassbender's nascent Magneto is relentlessly, even heart-breakingly, compelling. Their chemistry is electric -- theirs' is one of the most multi-faceted and sincere bromances the screen has seen in a good long while.
The younger cast all impress, though particular praise must go to Oscar-nominee Jennifer Lawrence as the petulant but pitiable Raven/Mystique (The Academy Awards have been good to young, hot X-chicks; let us not forget that Rogue herself, Anna Paquin, won for THE PIANO). Former child star Nicholas Hoult is also outstanding as the troubled Hank McCoy, and perhaps the most surprising kudos must go to teenage dream Lucas Till, who conveys the particular anti-social asshole-hood of the turbulent Alex Summers very convincingly indeed.
The biggest letdown in the movie, acting-wise, is January Jones as Emma Frost. True, she is appropriately ravishing, there can be no denying that, but she lacks the the zing of the written character. There is very little intelligence, snark, or even personality behind her interpretation of this most intriguing of mutants; she's just kind of Stand There and Look Pretty -- which, for one playing Emma Frost, is something a travesty.
The only other weight under which this movie really labors is the fact that it is a prequel, and it therefore suffers from the feeling of inevitability that besets all such endeavors. Anakin Skywalker HAS to go Dark Side. Bilbo Baggins HAS to find the One Ring. And Magneto HAS to turn against humans; Mystique HAS to join him; Xavier HAS to end up in a wheelchair. With these definite plot developments looming, their eventuation is bound to be a bit of an anti-climax.
And yet the fun part about X-MEN: FIRST CLASS is the journey it takes us on to get us there. Offering up plenty of surprises, some kickass action sequences, mighty fine special effects, sly humor and a killer cameo, it is without doubt the best comic book movie of the year – nay, decade – thus far. And considering how overcrowded that list is, this is really saying Something.
Huh. A prequel that does not, in any way, suck.
Amazing, isn't it?
-- Rachel Hyland, geekspeakmagazine.com
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