Tag Archives: James Marsden
X-Men (2000)
Now here’s a case study in adaption, a simultaneous example of how to successfully make a comic book movie and how to cock it up even as you’re supposedly doing “right” by both your fans and your studio backers. An unqualified box office success, X-Men ignited what I’ve come to call the Silver Age of Comic Book Movies, inaugurating trends and best practices that hamstring the genre to this day, despite elevating superhero flicks up to a level of respectability they’d never previously enjoyed…save, perhaps, for about a minute and a half there, after Tim Burton’s Batman.
Batman was a filmmaker’s film by a man who’s gone on to admit he’s never read a comic book in his life. (“Which,” as Kevin Smith put it, “explains Batman.”) At least X-Men‘s Bryan Singer had the good since to claim making his “comic book” movie helped him see the light. Before this, Singer was known for one decent thriller (Unusual Suspects) and one half-decent Stephen King adaption (Apt Pupil). Seeking to do a sci-fi picture, he nonetheless turned X-Men down three times…until producer Avi Arad convinced him to actually read the damn books…and watch some of the wonderful animated series Arad brought to Fox Kids for five season’s in the 90s. Continue reading X-Men (2000)
X2: X-Men United (2003)
I went into this farce with no expectations. In case you haven’t figured it out by now, I’m a natural pessimist. So much of a pessimist I was prepared to write X2 off completely, like all the idiots I criticize for the blatant hypocrisy inherent in their dismissal “comic book movies.” Then the maintenance man comes by at nine in the morning, screwing my sleep schedule all to hell. And he tells me I should see this movie. It apparently “kicked serious ass.”
So off I go to Target. Twenty minutes, two cigs and one neutered anti-theft device later, I returned the proud (if ambivalent) owner of X2, second in what will no doubt be the epic superhero movie trilogy to end all epic superhero movie trilogies. For, like, ever.
As if. I say “ambivalent” whenever I’m faced with something like this…like almost any movie from the summer of ’03…with one notable exception…something that makes me feel anything but united. I love glitz and glamor as much as the next Red Blooded American Male, but I’m getting mighty tired of leaving a movie feeling hollow and gypped. After all, didn’t they used to make movies with something more than a few hundred million dollars of special effects? Something that engaged its audience? That challenged us? Was that just a dream? I swear they were still doing it a few years ago… {More}