FILM REVIEWS . . .

By David Foucher

Comic book superheros have ever celebrated the extreme incongruities of social pariahs become heros, for within stories of human adversity lies great pathos. But the power of "X-Men" lies not in the struggle of the one, but in the strength of the many - those ostracized as mutants who nevertheless struggle for acceptance in non-militant ways against factions of their own kind determined to take by force rights they believe to be self-evident... in such mythology is the human condition - strengths and weaknesses alike - most effectively considered. These are the social forces, after all, that create war and make possible human dignity; and in the "final" chapter of the film franchise, our X-Men face a cataclysmic battle as morally complex as it is entertaining. It’s all here: betrayal, honor, friendship, justice, and an increasingly clear metaphor for sexual identity. Thus far, "X-Men: The Last Stand" is the most X-citing film of 2006.

The story picks up with the X-Men not overlong on the path of mourning Jean Grey (Famke Janssen), whose self-sacrifice at the end of the second film permitted her compatriots to escape a perilous predicament. The rest is status quo - Charles Xavier (Patrick Stewart) maintains his school for the gifted/mutated, with Wolverine (Hugh Jackman), Storm (Halle Berry), Cyclops (James Marsden), Rogue (Anna Paquin) and a host of trainees in attendance - and Magneto (Ian McKellen) looking for the next opportunity for troublemaking. He finds it when a millionaire disenchanted with his son’s abnormality (six foot wings) announces a "cure" that makes mutants into humans, correctly surmising that society’s natural fears of non-conformity will rapidly weaponize the pharmaceutical breakthrough. It’s not long before the mutant community is thrown into civil war, with both sides fighting for access to the astronomical new powers of a reborn Jean Gray, aka Dark Phoenix.

A story more metaphorical to the gay community’s struggle could perhaps not be imagined; in fact, its relevance to society’s disgruntled approach to sexual deviance is obvious from the prologue, wherein the aforementioned winged boy hides in his bathroom as a youngster, desperately trying to clip his wings until he is abruptly embarrassed by his father’s unannounced entrance - the pubescent metaphor is just that clear. And the "cure" is conspicuous in its terminology, particularly since the "mutation" is genetic in nature. Scribes Simon Kinberg and Zak Penn steer somewhat clear of the moral issues involved in favor of lightly insipid plot-based dialogue, but certainly make the point that different is not dysfunctional, need be accepted, not cured.

Director Brett Ratner takes a slightly different creative approach than did Bryan Singer, who helmed the first two pictures but departed with his writing team to develop this summer’s "Superman Retuns." This film is shorter than its predecessor by nearly a half hour, and accelerates incessantly throughout its run; that leaves comparatively little time for introspection or relationship building, but also ensures a breathless, heart-pounding ride. And the actors certainly deliver on that promise; Janssen, Berry, McKellan and Jackman carry the picture with decently nuanced performances, while Kelsey Grammer’s "Beast" and the pumped-up Ben Foster’s "Angel" provide intellectual and visual novelty to the franchise.

Whether you like the film on its character merits, however, will be largely determined by which X-Men have thrilled you in the past. Certainly the old favorites are here - Mystique (Rebecca Romijn) is my personal enchantress - but as with the comic books, they do not always play such integral roles in the main action. But for fans of visual effects and high-spirited action, this film will not disappoint; it’s pure adrenaline. Which makes "X-Men: The Last Stand," by the way, an outstanding summer popcorn flick.

Copyright 2006 EdgeBoston

X Men 3 X-cells at the X-tremes

Review by Louise Keller

There are flaming cars, levitating houses, walls of water and an X-travagant action scene in which the Golden Gate Bridge is devastated and repurposed in spectacular fashion. The credit list for stunts and visual effects for X-Men 3 goes on forever, and it's not surprising. The stunts are non-stop and we marvel at them all. Yet the heart of this third film about the mutant Marvel comic characters is overtaken by splashy effects. That's not to say I didn't enjoy director Brett Ratner's showy, visual style, but emotionally, I felt a little like Anna Paquin's Rogue, unable to touch the characters I love.

All our favourites are back as well as some fresh new faces. Look carefully in the opening sequence, when Patrick Stewart's Charles Xavier and Ian McKellen's Magneto enjoy the benefit of anti-ageing software, when they are shown twenty years earlier. Good effect. Stewart and McKellen are worthy adversaries, as they remain on opposing sides of the new war which battles for the survival of mutants as a race. The notion that individuality should be treated as a disease is an interesting one and can be considered as the starting point for many lively discussions.

Love yourself as you are, is the moral of the film, and while love plays a central part, our emotions seem to be too gobsmacked by the action to be overly affected emotionally. There are too many characters doing too many things. In the beautiful body stakes, Hugh Jackman impresses again as Wolverine, and Halle Berry is mysteriously exotic as the weather-controlling Storm. Ellen Page as Kitty, who can walk through walls is a welcome addition, and the scene when Vinnie Jones' massive Juggernaut crashes through the walls through which tiny Kitty has already morphed, is a wonderful comic touch.

In chess, the pawns go first, says Magneto, and while pawns, bishops and kings alike reach the end of the game, X Men 3 X-cells at the X-tremes.