X-Men: First Class A Lively Orientation Session.

X-Men: First Class

As the old saying goes, if at first you do not succeed, try and try again. In many ways this perfectly encapsulates the X-men film franchise. Of the three previous X-men films, and the Wolverine spinoff, only X2 truly captured the essence of the comics on screen. The original X-men played it too safe while the third film, X-Men: Last Stand, cared more about its special effects that of its plot. As for X-men Origins: Wolverine, well the less said about that debacle the better. As a result my expectations were lowered significantly going into the latest reboot X-Men: First Class.

Set against the backdrop of the Cuban missile crisis, X-Men: First Class highlights the events that first brought Charles “Professor X” Xavier (James McAvoy) and Erik “Magneto” Lensherr (Michael Fassbender) together. Shortly after receiving his doctorate, Charles Xavier and his companion Raven (Jennifer Lawrence) are recruited by CIA agent Moira MacTaggert (Rose Byrne) to assist in tracking down Sebastian Shaw (Kevin Bacon). Leader of a group of mutants known has the Hellfire Club, Shaw plans to bring the United States and Russia to war for his own personal gain. While pursuing Shaw, Xavier meets Lensherr who is hunting Shaw to settle an old score. Joining force the two men, along with a team of young mutants, attempt to stop Shaw before he starts another World War.

In many ways X-Men: First Class is best viewed as its own separate entity. The film tries too hard to align itself with the narratives of the X-men films that came before it. This however is a mistake as the continuity errors become apparent the more they reference the other films. However X-Men: First Class is a film that does not need to acknowledge its legacy as it has its own unique voice. Director Matthew Vaughn creates a film that is smartly reinvents the mythology of the X-men while keeping the lighter tone found in the comics.

What makes this film work so well is the strong performances by both Michael Fassbender and James McAvoy. Although the X-men have always been team based, the story would have still worked if the film featured only Xavier and Lensherr. These two characters are the most interesting aspect of the film. McAvoy may not carry the same commanding presence that Patrick Stewart did in the other films, but he does manage to make the character of Xavier exciting again. The way he conveys Xavier’s struggle between his ideology that mutants and humans can co-exist and his desire to fight side by side with Lensherr comes across well in the film. Fassbender in particular does a fantastic job of providing his own unique take on Lensherr. Bringing a mixture of compassion and coldblooded rage to the role, Fassbender walks the thin line between good and evil displays why Magneto is one of the more compelling villains in the Marvel universe.

The rest of the cast is hit or miss at the best of times. Kevin Bacon continues to have fun in the villain roles he has been taking of late and Jennifer Lawrence does the best she can with the limited script given to Raven. Although the Raven/Hank McCoy (Nicholas Hoult) subplot was interesting, the triangle between Xavier/Raven/Lensherr did not carry the punch it should have. Similar to the comics, the problem with most X-men films is that there are more characters than there is enough time to truly develop them. January Jones’ Emma Frost is not given much to do besides look pretty, and henchmen like Riptide and Azazel join the long list of quickly forgotten characters.

Still, as far as comic book inspired films go, X-Men: First Class manages to make the X-men entertaining and relevant again. Vaughn offers up several exciting action sequences that are designed to highlight each character’s mutant ability. Plus, the overall story works well and actually generates interest in seeing these characters again in a sequel. Is X-Men: First Class better than X2? Not quite. However this is a film that soars when the previous films are ignored.

Stylish Single Man Seeks Shoulder To Cry On

A Single Man

After the sudden death of his lover Jim (Matthew Goode), George (Colin Firth) no longer sees any reason to go on living. Consumed by grief George decides that this is the day he will commit suicide. As George goes through the daily routine, for possibly the last time, he spends time with his best friend Charley (Julianne Moore) and discovers various opportunities for new love. One of which includes Kenny (Nicholas Hoult), one of George’s students

Is it possible that a film can be too pretty for its own good? If so, then I think A Single Man falls into that category. Tom Ford clearly has a keen visual eye. Every single frame in the film could be its own poster or magazine photograph. I really enjoyed the shots where George was observing the physical details of the various people he encountered. At times I found myself being so distracted by the visuals that I was starting to ignore aspects of the narrative.

Despite the strong visuals, Ford is determined to have A Single Man be more than just a stylish film. He really works hard to ensure that the story and characters are always at the forefront. This is what makes Tom Ford’s directorial debut such a memorable film. The story may revolve around George’s grief over losing his lover, but there is opportunity for him to find love around every corner. George is practically the gay kin of James Bond and Shaft, as it seems almost every person he meets wants to bed him. The refreshing thing about this is that George is completely aware of his sexual magnetism and often struggles not to give into his own urges.

The film is as much about moving on as it is about mourning loss. As much as I enjoyed the flashbacks segments between George and Jim, it was more exciting watching the cat and mouse like game that George plays with Kenny. The romantic tension is palpable yet it is George’s guilt, or at least his need to hold onto to the guilt, that is the wedge in their budding relationship.

The need to hold onto the past is also found in the George and Charley arc. To me this is the most gut wrenching part of the whole movie. George and Charley both have baggage to deal with but they display it in different ways. George wallows in his grief while Charley puts on the façade of being carefree. In my opinion it is Charley who is by far the saddest character in the whole picture. Her whole life is defined by the various men in her life. Now living alone, Charley drinks away her pain while secretly longing to rekindle the magical night she once had with George. The fact that George views their one encounter as a just a moment of fun is very telling. It represents how Charley has been viewed by most of the men in her life.

A lot of credit must be giving to both Colin Firth and Julianne Moore for their work in A Single Man. They do a wonderful job bring out the complexities of their individual characters. Their unique performances help to convey the sorrow and joy within George and Charley. Although there is a lot of grief that runs throughout A Single Man; the performances coupled with Tom Ford visual flare makes this film a rather joyous film to watch.