The minister, William Stryker, who has also been involved in the murder of other young mutants and even his own mutant child, wants all mutants to die. Written by Chris Claremont, perhaps the greatest author to ever touch the series, God Loves, Man Kills is about a fire-and-brimstone minister who attains troubling celebrity status by enabling the public’s rampant anti-mutant hysteria, with the U.S. 2003’s X2 is a much stronger installment, especially due to the comic book storylines chosen to make up its twin backbones: the horrifying God Loves, Man Kills arc, and Wolverine’s traumatic history with the Weapon X program. It’s one of the reasons why, two years later, Sam Raimi’s Spider-Man crushed X-Men at the box office, and remains the nostalgic favorite: It actually seems curious about the capabilities of its hero and his world. The direction, on the other hand, is fairly milquetoast. Everyone is likable, especially Hugh Jackman, but Ian McKellan’s haunted gaze really seals the deal. The original 2000 X-Men gets by on the strength of its casting. 2003’s X2 merges various comic book storylines as a springboard to explore the mutant struggle, and it delivers on promises the prior film only hinted at, and that many of the later films missed entirely. But one film makes the standard X-formula work, not only by combining the emotional arc with the event arc, but by making fitting use of Wolverine’s leading-man status. It doesn’t help that Wolverine evolved from major mutant player to the X-brand’s central mascot as of 2000’s X-Men, so even movies where he isn’t the central character, like Days of Future Past, are forced to operate in his shadow. The film is so bloated that its mega-arc about a bittersweet “mutant cure” falls flat, and none of the cast members get space to breathe. Sometimes they intersected in serviceable ways: The first film’s personal arc belongs to the runaway Rogue (Anna Paquin), who is horrified by her mutant powers, while Magneto (Ian McKellen), representing the other end of the spectrum, is trying to turn world leaders into mutants.īut often, the paired plotlines never gel: With X-Men: The Last Stand, director Brett Ratner and writers Simon Kinberg and Zak Penn seemingly couldn’t decide whether to focus on Magneto, Jean Grey, Rogue, or Wolverine.
#Nice clock anniversary movie
Each movie had a dual marquee plotline: one that was a grander, blockbuster-friendly event (and often a comic book adaptation), and one that provided a more personal emotional arc for a character.
For nearly two decades, 20th Century Fox produced X-Men films with a pretty simple formula.
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