Where does Bryan Singer’s latest X-entry Apocalypse rank? About smack dab in the middle. It’s a decent summer popcorn epic with a great cast, many of whom rise above the CGI detritus to land a moment or two of tear-jerking pathos. Per capita Oscar/Golden Globe winners/nominees, the X-movies have always far surpassed their nearest rivals. In this flick alone, you’ve got Michael Fassbender, Jennifer Lawrence, James McAvoy, Hugh Jackman, Rose Byrne and series newcomer Oscar Isaac. I wouldn’t be surprised to one day see Nicholas Hoult (who plays Hank McCoy) and Evan Peters (Quicksilver) similarly awarded for their (other) work. Joining them are equally strong up-and-comers Tye Sheridan, Sophie Turner, Kodi Smit-McPhee, Alexandra Shipp, and Lucas Till. And Olivia Munn, who is about as vocal a proponent of animal rights (and as militant a one) as a Hollywood bombshell can be, plays bad-ass ninja mutant Psylocke like Xena Warrior Princess slaying a frat party.
The film is perilously overstuffed. (Could you tell from that cast list?) Apocalypse suffers, as so many of these enterprises do, from a dopey and predictable end-is-nigh narrative arc upon which to hang far superior character moments. Heck, truth in advertising time, “end-is-nigh” is the film’s very title.
Said title is also the name of the film’s antagonist “Apocalypse,” played by Isaac under so much make-up and costuming that he looks like a Happy Meal toy or a grape popsicle. He’s such a fun and frisky performer that mostly he rises above the cardboard operatic dialogue with which he is saddled. It doesn’t help that, well, he can’t move his neck in that get-up. Like at all. But Isaac does just fine being menacing enough that you believe the world actually might be in some trouble … and at the two-thirds mark of this overlong film, you might wish he would just hustle up and get it over with.
The rest of the cast isn’t given a lot to do, but they make the most of every moment, even if no member of the cast likely has more than two or three pages of dialogue in the entire film. Peters continues to be delightful comic relief as the resident speedster, though the sparkle of his “between the raindrops” slo-mo scene-work has lost a bit of its novelty since the last film. McAvoy is compelling as a baby Patrick Stewart, totally mastering the fine art of Stewart’s mind-reading, telepathic grimace face.
We get a fun (depending on how you view “fun”) bit with Jackman finally getting to unleash Wolverine’s full-tilt berserker rage. In fact, I was a little shocked the filmmakers were able to keep their PG-13 rating, as Jackman’s bloody pas-de-deux approached horror movie levels of carnage.
Byrne, Hoult, and Lawrence are rather neglected by Simon Kinberg’s rambling screenplay – which may have been just fine with them – but these three pros still bring welcome heart and wit to their too few impactful moments. Lawrence does get one of the film’s best lines, though: “Just because there’s no war, it doesn’t mean we have peace.” Amen, sister.
Fassbender is the film’s heart-breaker. His scenes aren’t well written – Singer and Kinberg, shame on you with this Lifetime TV melodrama – but he plays them so beautifully, so delicately, and so hauntedly you just may get teary. A bit. I did anyway, and I don’t think it’s because it is allergy season here in Michigan. Fassbender grounds the film with a kind of hyper-real pathos that also benefited his other two outings in the franchise. It’s a good thing, too. Otherwise this installment could’ve been a total candy-coated disaster. (Whenever wait-staff at Red Robin are wearing your film’s logo on their shirts as a cross promotional effort, while delivering a revolting concoction called the “Red Ramen Burger,” your flick may be in trouble.)
So what if the assembled performances here are tantamount to Halloween USA costume catalog posturing? It’s all good. Everyone deserves a paycheck. During one ponderous scene between Isaac, McAvoy, and Fassbender, I zoned out and just kept thinking to myself, “Damn, that is a fabulous trio of ACTOR noses right there. Look. At. Their. Noses.”
I’m not sure where the series goes from here, and I admit a morbid curiosity to see how many more characters (for future toy sales) they can cram into … chapter nine, is it? I’m losing track. However, I hope the studio execs, plagued as they are by checkbook accounting and the collective creativity of a baked potato , take to heart the lessons that all of us mere mortals see in the success of a movie like Deadpool. Have fun, be light, tell a human story, focus, keep it small, and understand that these superhero movies are today’s fairy tales. We want a moral, we want to relate, and we need it told in less than three hours.
_________________________Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.
and just what do you have against the creativity of baked potatoes? ) sounds like i may sit this one out, loved your review, especially your last line.
I love potatoes, but I just don’t think they should run a movie studio! Yes, I’m not sure this is your kind of movie. 🙂
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