Director Bryan Singer’s 2014 return to the X-Men franchise, X-Men: Days of Future Past, was a superhero movie about rebooting superhero movies – the notion of pop eating itself epitomised on the big screen. For Singer’s fourth turn at the mutant bat, X-Men: Apocalypse, the concern seems to be with running with the free rein afforded by the prior movie’s timeline fuckery, giving us new origins for younger incarnations of famous characters from the early 2000s films (Cyclops, Jean Grey, Nightcrawler, Storm) that don’t quite match up with their backgrounds as previously presented. This approach extends to taking the winged character of Angel from the 2000s-set final film of the original trilogy and placing him in the new entry’s 1983 setting at roughly the same age, while also turning him into an (ineffectual) antagonist…
This piece was originally published at Sound On Sight, which is no longer active. The below is an edit from 7 May 2018.
Seemingly late in the game of David Koepp’s Mortdecai, the eponymous character (played by Johnny Depp) asks his wife, “Are you quite finished with your barrage of insults?” It’s an apt question for the film itself, a cataclysmically unfunny, unbelievably tedious disaster of baffling misjudgments and multiple career lows that feels as long as Shoah, and only a little less harrowing. No such luck, though, as the film goes on for another 25 minutes. It then ends on people about to throw up. Also apt. Continue reading Mortdecai (David Koepp, 2015)