While much has been made about how superhero films rely on the destruction of cities in order to make the stakes higher for heroes, “X-Men: Apocalypse” takes this idea to the next level with startling violence.
How can an actor as charismatic and dynamic as Isaac feel so torpid here?
The failure to make Apocalypse engaging is mostly the fault of Simon Kinberg’s script.
Michael Fassbender can’t give Magneto’s storyline the emotional depth it needs.
But could any actor distract from how that storyline embodies the most onerous cliché in regards to the treatment of women in comics?
The destruction in the third act is so wide-ranging, so cataclysmic, that it zaps the film of any tension.
There is one scene involving the surprisingly fun Quicksilver (Evan Peters) that gives “X-Men: Apocalypse” one of its only visually interesting moments.Singer and Kinberg are seemingly incapable of developing more than one female character at a time.There’s also something deeply troubling about a series that trades in the language and ideas of the Civil Rights Movement without caring one iota about its characters of color. She has none of the emotional interiority, swagger or complexity of her comic counterpart.These operatic, world-destroying villains don’t seem to work on-screen as they do in comics.Their motivations are—at best—confusing and nonsensical. They seem so disconnected from the world the heroes move through that they almost exist in entirely different films.Perhaps, “X-Men: Apocalypse” also exhibits the worst traits of these sort of stories in the comics, which can be damningly inert, nihilistic, and overcrowded on their own, before even being adapted for the screen.