Originally published and still available on Post-Modern Sleaze (29/05/16).
The team take on the original mutant in this overstuffed and overblown third instalment to the prequel series. ★★☆☆☆
By the time Jean Grey declares that “The third one is always the worst” about half way through X-MEN: Apocalypse, it is the final confirmation that what you are watching is, for all intents and purposes, exactly what you didn’t want to see.
Carrying on with the tradition of recent years, X-MEN Apocalypse begins one decade on from 2014’s Days Of Future Past. This is the 1980’s, and it feels it; aesthetically a little tacky or – if you prefer – style over substance. Apocalypse tries to be the full-throttle summer blockbuster that you so fondly recall from your childhood – which is fine, if executed correctly, and as unfortunate as it is to state, there is much about this film that falls short of the high bar set by its recent predecessors in the franchise.
One has to wonder what director Bryan Singer was thinking when he chose Apocalypse as the main antagonist following Days Of Future Past. The conflict in the latter film was largely devoid of a full-scale Big Bad assault. It was an internal affair, with the mutants uniting in the future timeline to rectify their failings in the past, ultimately to stop Mystique (Jennifer Lawrence) from assassinating President Nixon (this was the 70s, guys) and adding fuel to the fire of Dr. Bolivar Trask’s (Peter Dinklage) anti-mutant defence programme: The Sentinels.
This was an intelligent plot and more complex than your average superhero film. The same cannot be said here, so much so that the world and characters in Apocalypse may as well exist in an entirely alternate universe to that of First Class (2011) and Days Of Future Past. This may as well apply to the director too, for despite being at the helm of both Days Of Future Past and Apocalypse, at no point does it feel like Bryan Singer is responsible for both. He commits considerable gaffes to his previous work in the franchise such as abandoning interesting plot threads (read: Mystique posing as William Stryker and fishing Wolverine out of the river) that were left hanging from the previous film completely.