Ancient Egypt. En Sabah Nur, said Revelation and worshiped as a god, is about to make the transfer ceremony of his soul in the body of a mutant who has the power to regenerate their wounds, obtaining immortality, but a group of rebels imprisons under a pyramid. In 1983, while the world is still indebted to Raven and Professor X for saving the President of the United States and Magneto tried to start a new life and a family on condition of anonymity, a group of fanatics awakens from his eternal rest Revelation, more than ever determined to regain rightful place on the throne of the world.
Being able to make the events of Marvel mutants without betraying interesting and engaging again the expectations of a movie that is – because that has to be for the “House of Ideas”, it’s Disney or Fox – bigger, big and fulfilling the previous . A task not easy for Bryan Singer, who for X-Men: Revelation assumes more of a risk. How to stage a more powerful mutant of all others, and reframe the familiar characters of the saga, schierandoli with or against him, buried up to pinch the world of Ancient Egypt, trying to avoid the pitfalls of digital peplum style Gods of Egypt . A number of difficult things to hold in one film, disproportionately dilated, with a concluding section devoted entirely to the dramatic clash between the mutants, with the fate of the world as stakes. Paradoxically, it is this epic battle around which everything should turn to work less: too many expectations, too many centrifugal forces, to make it impossible even for a quarterback of the plots such as Singer maintain an overall cohesion. The threat of Apocalypse, an immortal mutant and most powerful of all the others, it does not really afraid, or makes much less of Magneto in X-Men 2 and X-Men – Days of Future Past, and excellence technology does not automatically translate into more involvement of narrative levels. Some mutants are two-dimensional, while their human dimension has already been thoroughly dissected, beginning with that of Magneto and his endless odyssey from Auschwitz forward.
Where X-Men: Apocalypse is rather convincing in trying to find a hook with reality or with other media, without surrender totally to the delirium of explosion and decomposition of matter by ├╝ber-disaster-movie digitized. For example, the choice of Raven / Mystique as an object of fandom, invisible and unreachable idol for teenage masses changed and underprivileged, is a direct reference to the fact that Jennifer Lawrence is one of the few truly iconic faces for the new generations (and any reference to Hunger Games is anything but random); and this element, rather than dismiss the narrative universe viewer, eventually involve him more in the plot. Moreover, out of the prequel effect and postponed until a later date rewriting an ending that did not convince anyone (X-Men – The Last Stand), the future of the saga lives in his rapprochement with his audience and with the size adolescent (one of the most successful scenes is one in which a shy Scott / Cyclops meets a young Jean). The future is (still) in the share: winning the connection (mental) better, loses who remains alone.
More X-Men looks at his side of romance and teen movie, freeing yourself from pure disaster, and will have a better chance of surviving the disease of gigantism that threatens to collapse the domain, so far unchallenged, the superhero blockbuster.

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