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Old 12-27-2012, 06:20 AM   #94
Raining hell from above
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Default Re: Mark Millar now snubbing Marvel Disney...?

Originally Posted by JeetKuneDo View Post
I would also list Mystique's odd changing allegiance. I guess in a way it makes sense because she dropped into Xavier's life instantly too (she breaks into the house and he decides to adopt her on the spot?) I put that down to the dumb decision to cram every detail of the X-Men backstory into one movie. Basically they felt they needed to go from "the beginning" to "here is where the first X-men movie starts". So Xavier and Mags became friends and enemies in the same movie instead of have a friendship which lasted a decade or more and might actually feel compelling and real. Mags had to get his helmet of course. Xavier had to lose his legs of course. Beast had to get his blue fur of course.

Sheesh....what's left to tell? I guess the next movie will be all about Xavier losing his hair...that's about all they didn't cover. (But naturally they had to put some jokes in about it) I think the writer was doing coke or something...slow down dude!

Oh...and though I really like Jennifer Lawrence....but I thought she sucked as Mystique. Give me Rebecca Romijn in that role.

Everything they did with Mystique/Raven was absolutely wrong, starting with her mysterious appearance in the Xaviers' kitchen. The film never even took a stab at explaining how a naked 8-year-old girl ended up breaking & entering at a Westchester mansion. Where she came from and how she got there were matters left unexplained, as was the reaction of Charles' parents to the strange child they were suddenly raising.

The sibling relationship between Charles and Raven must have made some sort of sense to the writers, presumably, but in light of Mystique's appearances in the other X-films it was really jarring and nonsensical. Xavier and Raven had no relationship at all in the other movies except as adversaries, yet we were supposed to accept them as brother and sister in X:FC? It felt like that relationship was created to set up Raven's betrayal of Charles and cast her later actions in a more sympathetic light. That relationship didn't make sense and is one of the reasons I can't view the movie as a prequel to the X franchise instead of a reboot. (The appearance of a teenage Alex Summers in the early 1960s, well before his older brother was born, is another.)

The makeup for both Raven and Beast was so horrible that I could hardly believe they used it. It was like the director decided that they could get away with using faux fur and Silly Putty without anyone noticing.

As for Charles and Erik, I guess they were friends for five minutes and enemies forever. Before X:FC, they were portrayed as two men who had enjoyed a long friendship before growing apart due to their differing approaches to the thorny issue of human/mutant coexistence and mutant rights. Had their relationship been handled that way it would have given depth and nuance to the film. But their differences were presented in a very simplistic, black and white manner where there should have been shades of grey.

The writers wanted us to see Charles as being in the right, but his attitude towards Erik's vendetta against Shaw was hard to take. Charles' insistence that Erik was wrong was arrogant, while his desire to work with the government seemed delusional. Trying to protect a Nazi who had murdered Erik's mother before his eyes made Charles look naive, foolish and judgmental. Using Cerebro to hunt mutants for the CIA is the equivalent of Harriet Tubman using the skills she gained organizing the Underground Railroad to track down escaped slaves for their masters. Given Charles' reckless actions, I thought that Erik was justified in breaking away from him. The writers should have explored the problematic aspects of Charles' cooperation with the government and its danger to mutantkind rather than plowing ahead with the "Charles is good/Erik is evil" dichotomy they were so wedded to.

For all the raving I heard about X:FC before seeing it, I had expected it to be far better written and acted than it was.

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