erik lundegaard

X-Men: The Last Stand
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X-Men: The Last Stand (2006)

WARNING: THREE-MAIN-CHARACTERS-ARE-KILLED SPOILERS

When he took over the reigns of the “X-Men” franchise, director Brett Ratner promised that he and screenwriters Simon Kinberg and Zak Penn would put nothing on screen that hadn’t first been in the comic books.

If so, they must’ve panned the entire “X-Men” oeuvre for stupid shit. Because that’s what’s on screen.

Here. These are the first words we hear. It’s 20 years ago, we’re in a nice suburban neighborhood, a car pulls up to the Grey household (1769) and Professor X and Magneto (Patrick Stewart and Ian McKellen), emerge, airbrushed creepily, for this bit of exposition:

Magneto: I still don't know why I’m here. Couldn't you just make them say yes?
Professor X: Yes, I could, but it's not my way. And I would expect you, of all people, would understand my feelings about the misuse of power.
Magneto: Ah, “power corrupts” and all that. Yes, I know, Charles. When are you going to stop lecturing me?

Let’s take a moment to distill that conversation:

Magneto: Hey, do X.
Professor X: I don’t do X. You know that.
Magneto: I know you don’t do X. Quit lecturing me on how you don’t do X.

The movie keeps doing this. It keeps giving us supposedly intelligent people having inane conversations.

The storyline is fine. You could argue the storyline is an improvement. In the first movie, Magneto tries to turn all humans into mutants (a dumb idea, since he despised humanity), and here humans try to turn all mutants into humans (a smart idea, since humans fear mutants). Dr. Henry McCoy, the Beast (Kelsey Grammar), who is now Secretary of Mutant Affairs, arrives at Xavier’s school with the news. “A pharmaceutical company has developed a mutant antibody: a way to suppress the mutant X gene,” he says. “They’re calling it a cure.” Everyone in the room is appalled. Then Rogue rushes into the room:

Rogue (excited): Is it true? Can they cure us?
Professor X (resigned): Yes, Rogue. It appears to be true.
Storm (angry): No, Professor. They can't cure us. You want to know why? Because there's nothing to cure. [To Rogue] Nothing's wrong with you. Or any of us, for that matter.

The X-Men series is often seen as a metaphor for the civil rights movement, or for homosexuality, but this is where that metaphor breaks down. Black is black, gay is gay, but not every mutation is created equally. No one mentions this in the film but here would’ve been a good spot. When Storm gets in Rogue’s face, Rogue should’ve stared back, taken off a glove, grabbed Storm’s wrist; and while Storm gasped in excruciating pain, while her face got all veiny, Rogue should’ve said:

Rogue: I can’t touch anyone. Ever. Because this happens. Get it?
[Lets go and Storm collapses on the ground.]
Maybe if I could control the weather I wouldn’t want to be cured, either. But don’t tell me there’s nothing wrong with me.

Instead we get what we get. Magneto recruits from “the Omegas,” underground mutants who dress goth-style and sport tattoos as if they were disaffected suburban kids. They gather in woods for speeches and lead an assault on Alcatraz Prison, where the mutant, Leech, who is the source of the antibody (mutants temporarily lose powers around him), resides, bald, silent, and vaguely concerned. But Storm leads a team of six mutants (Wolverine, Beast, Colossus, Iceman, Shadowcat) to defend Alcatraz and beat back this army of mutants. It’s a good battle sequence, I’ll give Ratner that, but it doesn’t make up for the stupidity we’ve already been subjected to.

And that’s only one of the movie’s two main storylines. The other deals with the resurrection of Jean Grey (Famke Janssen) as the Phoenix.

We knew this was coming. If we’d read X-Men #s 101-108, in which Jean Grey dies and is resurrected as the super-powerful Phoenix, we knew this was coming.

What I didn’t know, since I stopped collecting comics soon after that adventure, and went on to, you know, Kurt Vonnegut and Philip Roth and E.L. Doctorow and Norman Mailer, was the huge powers of the Phoenix weren’t the result of her death/resurrection. Apparently she’d always had them. Thus that opening scene at the Grey household. Thus the conversation between Professor X and Wolverine after Jean’s body, along with Cyclops’ glasses, are recovered from Alkali Lake. Here’s what we learn in that 30-second conversation:

  1. When Jean Grey was a little girl, Professor X created a series of psychic barriers to make her think she wasn’t as powerful as she was.
  2. Because of this, she developed a split personality: the Jean Grey we’ve known for two films; and the superpowerful, superangry Phoenix.
  3. Professor X isn’t sorry he did this.
  4. He dismisses, belittles, anyone who questions him on the matter.

This is the tail-end of their conversation:

Professor X: She has to be controlled.
Wolverine: Controlled? Sometimes when you cage the beast, the beast gets angry.
Professor X: You have no idea. You have no idea of what she’s capable.
Wolverine: No, Professor. I had no idea what you were capable of!
Professor X: I had a terrible choice to make. I chose the lesser of two evils.
Wolverine: Well, it sounds to me like Jean had no choice at all.
Professor X: I don’t have to explain myself—least of all to you.

I don’t have to explain myself—least of all to you? Really? That’s the moral exemplar of this series? The man who didn’t want to misuse his powers in the opening scene? The teacher who wouldn’t even tell Wolverine his own story in the second film—who said, channeling Glynda from “The Wizard of Oz,” that Wolverine had to figure it out for himself? Least of all you? Wow.

When I first saw this scene, back in 2006, I assumed that this Professor X, spouting such idiotic dialogue, was a hologram, or maybe Mystique, or was being controlled by some nefarious force, and I remember being confused when the movie kept going on and on until it became clear, no, this was Professor X spouting such idiotic dialogue.

It would’ve been so easy to fix, too. Keep most of the above dialogue—I like the “Sometimes when you cage the beast” line, for example—but give us the mea culpa:

Professor X: I know, I know... Maybe if I hadn’t... But it seemed the only way... God help me, it seemed the only way.

Or scrap this conversation and give us the big reveal in a conversation between Professor X and Magneto:

Magneto (amused): Charles, you’ve always accused me of not living up to your moral standards. You’ve even accused me of evil. Now look at you. Your beloved protégée is a monster. You ... [smiles wider] ... are a Dr. Frankenstein. In trying to do good, you’ve done more evil than someone like me could hope to do in a lifetime.

Instead we get what we get.

Don’t even get me started on the loutish dialogue between Rogue and Bobby (“You're a guy, Bobby; your mind's only on one thing”) or Mystique’s awful lines (“I don’t answer to my slave name”), or how Jean kills both Cyclops and Professor X—really kills them—and then just hangs back, crackling with power, as battles rage, or how Magneto, normally a smart man, sends mutants to kill Leech when their powers won’t work around Leech, or how the good X-Men neutralize Magneto with the mutant antibody, rather than Jean, who’s much more dangerous, or...

“X-Men: The Last Stand” posits Jean Grey as the most powerful, destructive mutant in the Marvel universe, but surely that title belongs to director Brett Ratner. He took a popular series, gave everyone stupid lines, killed off the main characters, then smiled like a chubby three-year-old expecting accolades. What a surprise for him when the world turned angry.

Or is there someone else? Someone more powerful and nefarious? The first two “X-Men” movies, in 2000 and 2003, helped reboot the superhero genre. Since then, the studio that produced and distributed them, Fox, has given us the following: “Daredevil,” “Elektra,” “Fantastic Four,” “X-Men: Last Stand,” “Fantastic Four 2: Rise of the Silver Surfer,” and “X-Men Origins: Wolverine.” So maybe Fox is our most powerful and destructive supervillain. The corporation that would make idiots of us all.

Storm and Kitty Pryde contemplate the gravestones of Jean Grey, Scott Summers, and Charles Xavier in 'X Men: The Last Stand'
Death of a franchise.

—May 29, 2011

© 2011 Erik Lundegaard