:
John Wardlow,
Peter Cox,
Alison Reid,
more...
:
Brett Ratner,
Brett Ratner
see all cast/crew...
: 
: 20th Century Fox
: Comic Books, Superheroes, Marvel
: 104 min.
: English, Spanish, French
: English, Spanish
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Recently Rented By scarabin
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The explosive X-Men motion picture trilogy officially draws to a close with this release that finds Rush Hour director Brett Ratner stepping in for Bryan Singer to tell the tale of a newly discovered mutant "cure," and the polarizing effect it has on mutant/man relations. With the pressure on mutants to give up their powers and pledge alliance with the human race reaching a critical turning point, Professor Charles Xavier (Patrick Stewart) urges tolerance and understanding as his nemesis Magneto (Ian McKellen) gathers a powerful resistance in preparation for the ultimate war against humankind. Hugh Jackman, Halle Berry, Anna Paquin, and James Marsden return to reprise the roles they played in the previous two X-Men films, with Kelsey Grammer and Vinnie Jones joining the cast as Beast and Juggernaut respectively. ~ Jason Buchanan, All Movie Guide
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| sit down already
by cammelltoe
June 3, 2007 - 3:01 AM PDT
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1 out of 2 members found this review helpful
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| if you fed me a beer, i would go on for hours as to how stunningly wrong this movie is, both as sheer entertainment and as realization on the rich history of back story provided by the comix. first off, ratner and his team of writers commit the cardinal sin (for comic book, if not any literary adaptation) of compressing the material to such a degree--- meanwhile, not being anywhere in the neighborhood of succinct--- that a novice will have a hard time giving a shit for the cardboard characters getting bloodlessly slapped around throughout the action, and anyone who's read an x-men graphic novel will be insulted by the thoughtless liberties (half-assed iceman-kitty pride romance, anyone?) taken. here we have two major plotlines in the comics--- Joss Whedon's "mutant cure" storyline from astonishing x-men and chris claremont's untouchable "dark phoenix saga", plus a hint of claremont's classic "days of future past", watered down into a lame PG action thriller that somehow manages to make getting rebecca romijin-used-to-be-stamos completly naked...boring. atleast good actors like ian mckellan and patrick stewart get to shakespeare in the park their way to a fat pay day. why not just give a talented director with a cult following--- like, say, joss whedon--- a third of the money and two-thirds the creative freedom? less risk, more benefit. theoretically. a movie only a boardroom could love. |
| A So-So Third
by talltale
October 4, 2006 - 4:21 PM PDT
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4 out of 4 members found this review helpful
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Is X-MEN 3: THE LAST STAND? As if. Not only does this third in the series offer the usual last-second hint that all is not quite well, but after the entire credits have rolled we get yet another small scene with a couple of lines of dialog that upends what we have just spent 104 sitting through. For shame. Yet could we possibly have expected any of Bryan Singer's grace, wit and talent ("The Usual Suspects," "X-Men," and X-Men 2") from Brett Ratner, who gave us the "Rush Hour" franchise? Ratner is not untalented but he is generally a crass filmmaker, whose best work so far is probably "After the Sunset."
Here he allows too many would-be clever but actually sub-Bond one-liners to pop from the mouth of Hugh Jackman and other cast members, and the special effects are not that special. The "idea" behind of some of them is quite impressive, less so their execution. And what's this recent trend toward the dreadful "younging" of actors via digital manipulation? Stewart and McKellen look facially fake as their younger selves (as did Henry Winkler and Julie Kavner in the recent "Click"). A quick shot of Botox might have done much better.
What else is new? Halle Berry once again proves too lightweight even for this kind of fluff, James Marsden goes missing in action, Famke Janssen must register everything via her special-effected face, Ben Foster has no character save his wings (though he does look stunning in them), and the one note of charming understatement comes from a woman locking her car door as McKellen looks on, amusedly. Though the general public probably does not perceive it, for gays, this series still commands some respect and emotional response (even in a so-so rendition like the current one) as a metaphoric statement about "the other," "the closet," "cure" and "liberation." |
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GreenCine Member Rating
(Average 5.17)
94 Votes
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