X-Men: First Class (2011, Matthew Vaughn)

This prequel to the ever popular X-Men saga is an entertaining and sometimes camp adventure given weight by impressive central performances. It's great to a see a movie of this breed revelling in its colours and sense of fun in a post-Batman Begins world, despite dramatic dips, daft moments, and diminished results from promising rudiments, Matthew Vaughn's second foray into the world of superheroes mostly succeeds. 

In the trilogy started by Bryan Singer and ruined by Brett Ratner's closing effort we followed the fight over humanity and prejudice with Professor Charles Xavier's gang of X-Men against the war efforts of Magneto. Xavier believes in humanity and mutants living in harmony whereas Magneto has nothing but contempt for humans and sees no peace. We know of their long history and once friendship from additions in the scripts but here we learn of their origins and events that shaped the men we've known so far. 

First Class starts almost shot for shot as the first X-Men film did; in Poland 1944 the young Erik Lehnsherr (later Magneto) is taken from his parents as they go off to the concentration camps, his distress and fear manifests his powers for the first time allowing him to almost bring down the steel fence between them. Whereas this powerful scene cuts away in Bryan Singer's film here we're granted more as a nearby figure watches on from a window intrigued by the events. This figure is Sebastian Shaw played with joyous villainy by Kevin Bacon in a manor not distant from Christoph Waltz's excellent turn in Inglourious Basterds. Erik is brought up to his office forced to perform his powers again or his mother will be executed in front of him, a scene at first full of suspense and terror ending in a rather laughable show of acting from the young Erik, a real shame. Scarred by his experience we then follow Erik as a cold and disillusioned man focussed on revenge, Michael Fassbender portrays the desperation with a steel like resilience to empathy as he kills his way back to Shaw. Meanwhile, a young Charles Xavier meets a shape shifting girl in his kitchen one night, the girl as we know her is Mystique/Raven. The two grow up together forming a sibling like relationship and the petty squabbling and affection for each other is felt in the defined chemistry between James McAvoy and Jennifer Lawrence. Whereas Fassbender's portal of Erik/Magneto echoes Ian McKellen's efforts, Seeing a young Xavier is mightily interesting as his persona hardly fits the stately wheelchair bound man we've seen over the past three films. McAvoy's Xavier is a 'Jack the lad', a work-hard-party-hard student with a weak spot for the ladies. Seeing him slowly develop into the more world worn man we know him as later is perhaps the films most distinguished pleasure.

As Erik realises his efforts to bring down Shaw are useless without Xavier's band of mutants he joins them in their bid to stop Shaw from using the Cuban missile crisis as a catalyst for World War III. Erik would have no trouble in his retribution against Shaw if it weren't for the powerful telekinetic powers he harvests, powers similar in strength and nature to Xavier's own. Shaw and his beautiful but deadly sidekick Emma Frost (January Jones) seem to be a impenetrable force but the war for mankind and mutant relations wages on.

With Bryan Singer back on board with a story credit this had promise from the start and delivers more than the lacklustre Wolverine prequel, bettering X-Men: The Last Stand but shying short of the franchise's stellar second instalment. Vaughn's writing buddy Jane Goldman joins once again making for further reinforcement, but in a team of five accredited writers there was bound to be some muddles. The story takes a big dip in the middle, whereas the character introductions draw us in as soon as the mutant numbers mount up they become increasingly less interesting as the film loses sight of its main players. Raven/Mystique's relationship with Hank McCoy/Beast feels schematically forced and rushed over, while her affection for Erik is intriguing the juxtaposition between her feelings for the two feels inconsequential and a missed dramatic foothold for the story. Kevin Bacon's dastardly Shaw starts out as a real inspired villain but takes a nose dive into not just mediocrity but plain monotony, a shame such a charismatic start promising a standout antagonist would only exist to occupy dead space. Even Shaw's accomplice offers nothing but eye candy, for an actress who depicts such venom and loathing in Madmen January Jones neither shows an ounce of it here making for a dull forgettable presence also. When Hank McCoy makes the transition into Beast one can only think of Michael J. Fox in Teen Wolf (1985), for a transformation that should have contained more than a shade of tragedy for Hank the results are rather comical and doesn't sit as it should. This is just one example of several shoddy makeup/special effects which seems baffling for a production of this magnitude, some of the mutants powers also seem rather thin and neglectful - one female mutant has butterfly wings and only takes seconds into battle to reveal the worthlessness of her contributions. A young man with a high pitch scream is also an irritating addition we could do without.

Still, these little flaws only add to the camp nature of the film, whether camp was what the filmmakers aimed for is unknown but camp is what they got. The 60s setting strangely wavers at times making it easy to forget we're watching a period piece, the set/costume design could have been more prominent but maybe some of the secret advanced technology disguises these efforts. When successfully encompassing the 60s its general camp manner and occasional suave turns from Fassbender takes us into classic James Bond territory with its pantomime villain - Bond a la Roger Moore that is. 

Though the focus laid off them hurts the film somewhat the talents of Fassbender, McAvoy, and Lawrence acts as the glue holding it together. Each bring the same A-game they've brought to the gritty dramas we're used to them in, never looking down their noses at the material and clearly having fun with their characters. Matthew Vaughn's fluid flashy direction is still present though less successful than his previous films, possibly due to the weight of the production this time. 

The aim of X-Men: First Class was to show the beginnings of the franchise's two opposed leaders fighting for and against mankind due to their differing world views; the film succeed at this whole heartedly making it a deepening exercise rather than the money spinner it so easily could have become. By the end we see the paths laid out for both Erik and Charles after witnessing the events that later define them. Despite some sloppy moments of direction and inconsistent writing the results still manage to convince and entertain, a job well done with much to improve upon in the recently announced sequel.

Avengers Assemble (2012, Joss Whedon)

In the highly anticipated Avengers Assemble which has been steadily building momentum ever since that first post-credits snippet in Ironman (2008), writer/director Joss Whedon delivers a film that both adheres to the many egos of this ensemble piece as well as the fanboys' without having to pander them. An element that could have destroyed the film but is impressively made light work of by a filmmaker in love with his characters, breathing a rare breath of life into a $220million blockbuster.

The story is a thin one and brushed over with haste during the film's opening, with Loki (brother of Thor) allied with another world, he steals an all powerful and renewable energy source (the Tesseract) which has the power to open portals allowing the destructive forces to enter our world. We're given no insight into this other race who dream, like Loki, of Earth's demise. With a villain as magnetic a presence as Loki and in a film this rammed with characters it's frankly not needed or possible. The real story, after all, is about the avengers initiative and the separate members learning to play nicely in order to save Earth. With Bruce Banner still struggling to harness the power of Hulk, Tony Stark playing hero vigilante, Captain America adjusting to life in 2012, and Thor's judgment clouded out of love for his tyrant brother, it takes a bit of time for them to realise Earth hangs in the balance of their teaming. While successfully melding all these larger than life egos, Whedon has crafted a script full of the most entertaining of camaraderie; his clear understanding of the characters adds a warm friendly jeer to each joke instead of a desperate decent into adolescence, Avengers Assemble offers more laughs than most 'comedies' this year but juggles the stabs at humour and action in perfect harmony. Even the additions of Scarlet Johansson's Black Widow and Jeremy Renner's Hawkeye are integrated favourably despite being introduced as bit parts during Ironman 2 (2010) and Thor (2011) respectfully. They are tagged on, however this never amounts to a problem due to both being so damn watchable - bringing what they can to their as it stands, rather thin characters.

Whedon is clearly a talented witty writer but can he direct action? A huge factor of this megamovie. The answer is largely yes. Apart from a  few shoddy indiscernible moments here and there, mostly in the final battle, Whedon is a far more competent action director than those with more notches on their belts. A set piece taking place half way though the film, where Shield's floating HQ is under attack from Loki & Co would be the final act saved for the crowning glory of any other action film. With multiple jeopardise happening all around, the separate strands of danger are superbly handled and filmed with clarity. Though impressive, this was the only moment where the film could have come undone, after all, we know another battle looms much later that has to top this one. Luckily the film has more up its sleeve to keep us consistently thrilled throughout the CGI mayhem. Each character gets to shine in their own way when Earth comes under attack and Whedon manages to draw us into the warfare like so few films of this breed do. 

Tom Hiddleston plays villain Loki to perfection, never forgetting his pantomime roots but elevating his character into what might be the most interesting thing Avengers Assemble has on offer. Loki is both a venomous and spiteful man, but there is a pathetic vulnerability to him that is almost forgiving, he's relatable in ways that so few villains (not to mention of the comic variety) really are. When incarcerated by Nick Fury he's as sinister as Hannibal Lector at his best, though when confronted by Hulk he's ridiculed to such a degree that it makes for the biggest laugh the film has to offer, and it offers plenty! Mark Ruffalo finally gives us the Bruce Banner we've always hampered for, a task that previous performers have fallen short of despite their abilities. He plays Banner as a self loathing man, haunted and shamed by his demons and destructive capabilities. This plus his quiet, gentle, and bookish demeanour make him for a complicated man that will benefit from more screen time in the coming years. As Stark so rightfully says, "We have a Hulk", one we can now be proud of.

Avengers Assemble suffers from the expected array of difficulties but disguises them in the strength of its execution. With a film this cramped with figures having one or more films dedicated to them, there was never going to be a straight cut line through to the end as we follow a single character to triumph on a journey of self discovery. The film flits from one avenger to another and can never afford to settle, never favouring one over the rest. Despite an extra level of unneeded plotting involving Nick Fury's disapproval of higher orders, it can be safely said that Joss Whedon couldn't have done much to improve on what now doesn't seem like such an impossible task afterall. Avengers Assemble is everything a blockbuster should be, the Marvel culmination that everyone wanted, and a reminder of the results strewn from a filmmaker with passion for his craft.

Thor (2011, Kenneth Branagh)

Thor could have been a throw away effort, existing only for the benefit of the ever looming Avengers film. After the diminishing results since Ironman (2008) one can be forgiven in fearing the worst, since the sequel lacked the charm and entertainment factor present in the stellar first instalment, throw in The Incredible Hulk (2008) for a painful reminder and the odds were hardly brilliant. It's relieving news then that Thor is in fact one of the most entertaining films one could possibly hope to endure, and an instalment that stands strong on it's own and apart from the collective piece it belongs to.

The character of Thor played by Aussie actor Chris Hemsworth literally lands into the lives of astrophysicists Natalie Portman, Kat Dennings, and Stellan Skarsgard. Through flashback we understand why our God of thunder has been exiled from his world of Asgard. Thor is the son of Odin (Anthony Hopkins) king of Asgard, Odin has waged war with the Frost Giants of Jotunheim for many years but has managed to secure peace through stealing their main power source. Thor is heir to Odin's throne and is an arrogant soul who craves attention and battle. Through his arrogance and pigheadedness he goes against his father's wishes after an isolated attack by the Ice Giants, his defiance proves fatal, and through his brother Loki's (Tom Hiddleston) jealous manipulation of events Thor is stripped of his powers and cast out of Asgard, sent to live as a human on Earth.

Our introduction to Asgard is a stunning one full of vibrance and splendour; save for a few over elaborate shots, the fantasy world of Thor's birthplace feels nicely grounded and lived in. Director Kenneth Branagh has mainly forged a career out of great literary adaptations and is best known for his takes on Shakespeare. Comparisons can be drawn from Thor's story and of Shakespeare; Thor as a man has the thirst for blood and sense of honour as Henry V , the familial treachery apparent in Hamlet is also present as brother Loki's malignant presence and eventual attack on Earth makes him our key antagonist.

Comic book material could be viewed as beneath Branagh but he clearly didn't see it that way, respect for the source has given way to a thoroughly enjoyable blockbuster full of action, spectacle, and humour. The scenes of action are well handled considering Branagh is still cutting his teeth in that area of expertise. The visuals of Asgard beautifully captured, holding as the place where much of the film's story takes place. It is, however, the scenes on earth and the fish out of water scenario of an Earth-bound God that packs most of Thor's satisfaction.

Chris Hemsworth shows to be be a fine comic actor here; though Thor isn't a character set up for mockery, it's hilarious to witness every line delivered by Hemsworth as he still plays up to the royal warrior he is while simple town folk look on astonished. The romance between Thor and Natalie Portman's Jane is spelt out from scene one but is developed nicely in a touching fairytale manor seldom seen these days. Supporting player Skarsgard is better than what he's given here, but is clearly having the time of his life on such a production - he and Thor drinking together is a standout delight. Kat Dennings spends most of her time delivering cheeky one liners, but Tom Hiddleston as Loki steals the show in many regards as he gives the villain of the piece a worthy layered presence.

Thor is the most enjoyable of the recent run of Marvel adaptions due to its perfect mix of mayhem and jesting, making it extremely desirable to return to. This film has everything a blockbuster should have, if I was 10 this would have been my new favourite film, and I mean that in the best possible way!