X-Men: First Class

I self-critically admit that I expected more from Vaughn than he could realistically do. When the magnetic Fassbender and the musing McAvoy are on the screen, it's as dark, immersive, and adult funny as I'd hoped. First Class has a very serious soul - it revolves around collective guilt, revenge, and the right to rule the world. The best scenes are not the action scenes, but the ones which are most conversational, where it stands out how far the creators can descend and how suggestive this comic book saga can be. The more realistic and mature the X-men look, the more they have trouble dealing with the "teenage" element. Fortunately, Vaughn kept some distance and perspective, yet I was not interested in the first class with the exception of the mentors, and it seemed that it was makeweight. This wasn't the case in Singer's day. It's like all the energy and attraction falls on the central duo. However, this is rewarded with absolutely devastating energy, and although the film sometimes breathes heavily, in the end it offers emotions and depth related to the legendary duo. It's just the comparison with singer's coherence and composure that prevents me from being completely enthusiastic. Anyway, I'd be very surprised if a more stylish and soulful spectacle came to movie theatres this year. (05/30/2011)

I have so much to tell you :-) But after leaving the cinema, my head is spinning and I'm unlikely to get anything coherent out of myself. Anyway, I'm impressed with the grandeur, thoughtfulness, and color. The moment Charles shed a tear when he entered Eric's head, I shed two. I was almost rolling on the floor during the few minutes when the "youngsters" learned to control their abilities. So, Vaughn has clearly scored again for me and I look forward to all his future endeavors. Yes, X-Men just knocked Inception out of my top 10. (06/28/2011)

Phenomenal! Vaughn brings the series back to where it originally started. As a comic book movie that uses its brain where others flex their muscles, it doesn't for a moment compromise on the audience-appealing spectacle, which doesn't lack wit, exaggeration, and... action. It is mature in its acting, plot, and direction, with no dead spots or lapses in pace. I’ll have more to say (hopefully) after the second viewing. Now I am just reveling in the memories of a film that was satisfying in every way. PS: There is nothing for me to add the second time either. Except that Fassbender rules like nobody’s business. Perfect in every detail. (06/02/2011)

Fans of comic book blockbusters can rest assured. My sole star does not mean that they would be in any way deprived of a hefty portion of special effects, action, and adventure of their favorite heroes, presented undoubtedly on a decent craftsmanship level. My rating is mainly related to the fact that adaptations of superhero comics are a genre that I have a decidedly negative relationship with. I consider myself a rational person and prefer the scientific method when exploring the surrounding world. Superhero comics have always repelled me with their close connection to the sphere of paranormal mysticism. The exceptional abilities of superheroes stem from religious beliefs and their world is based on the idea of ritual supernatural forces. Scientific discoveries and technology usually serve as mere props, and the X-Men superheroes are much closer to pagan gods than to characters from my favorite sci-fi genre. So Superman and X-Men have a particularly hard time with me. If they still want to impress me, they must come up with significantly deeper psychology than what is customary in typical blockbusters (unfortunately, the psychology of the characters in X-Men: First Class is very shallow), and with fully developed characters (in First Class, even such crucial decisions as choosing sides on the barricades seem like the actors just flipped a coin). The director must come up with ingeniously structured storytelling (compare the incredibly polished intro of Snyder's Watchmen with Vaughn's First Class, which reeks of popcorn from afar). I understand that exaggeration is essential in the genre, but even here, I appreciate moderation and, to the extent possible, prefer adherence to natural laws. The final nail in the coffin is Vaughn's ability to cater to the needs of entertainment-hungry teenagers. He simply knows what to make for teenagers, but in my case, it's precisely the opposite and I simply do not belong to his target audience. Overall impression: 25%. (06/12/2017)

Two men with a nearly brotherly bond, the fascinating teenager Mystique and the birth of several legends. And by its very nature, once a small, modest spin-off about Magneto, which under Vaughn's hands grew from a mutant matchmaker to the most anticipated blockbuster in recent months. When then the vengeful Erik Lensherr chases after the most sinister world gang against the backdrop of the Cold War, and the freshly graduated Charles Xavier teaches mutants how to deal with themselves, a well-deserved chill runs down your spine. Whether it's the story, the effects, the action, or the perfect actors (for me, McAvoy is the clear ruler). This tragedy has a clearly defined ending from the beginning, but by being able to stir up almost all emotions to the maximum, it reaches for the position of one of the comic book kings. (06/07/2011)