JONATHAN ROSS (from the SUN) says:
I was lucky enough to visit the set of the new X-Men prequel a couple of times and see some of the footage - and it looks amazing.
I saw some of the incredible special effects and the cast is phenomenal too.
Jennifer Lawrence, Nicholas Hoult and James McAvoy are awesome. And I think Michael Fassbender is going to blow everyone away as the young Magneto.
On one occasion, January Jones was walking past in lingerie!
Yes, I can confidently say this is going to be a great movie. But then my wife, Jane Goldman, did co-write most of it.
Even before she met me she was a comic fan. But when she got the job I brought down a pile of about 20 of my favourite X-Men comics for her to read.
As a huge fan, I was driving her mad with ideas - they were all terrible - but it's all her own work.
I'm doubly excited because it's directed by Matthew Vaughn, who is almost single-handedly supporting the British movie industry, and it's mostly filmed here.
The X-Men are like all the great anti- heroes. It's a classic idea, they're outsiders who have been judged wrongly.
That's their enduring appeal, I think, because young people identify with them.
At the heart of the X-Men, created by Stan Lee and Jack Kirby, is the brilliant characterisations that make the stories stand out.
They are like a family soap opera. You have the troubled father figure, Professor X, trying to deal with his unruly children; the straight arrow, Cyclops, trying to keep everyone in line and being branded uncool and so on.
They're basically a dysfunctional family but when they fall out and fight they have superpowers.
And those powers also help explain why the X-Men are still popular.
Professor X and Jean Grey have extraordinary telepathy and telekinesis; the Beast is strong, acrobatic and a genius; Cyclops is like a rock star wearing his sunglasses indoors but when he takes them off he has laser vision. They are all remarkable.
The movies have succeeded where others failed because they didn't make them before the technology was able to deal with the special effects.
They could replicate what comic book art can do so they look brilliant.
The casting was amazing from the start - Hugh Jackman as Wolverine, Ian McKellen as Magneto and Patrick Stewart as Professor X.
Plus, from the beginning, the first director, Bryan Singer, made the wise choice to make it quite a grown-up movie - he didn't play for laughs, it wasn't camp or kitsch.
That's why this is now the fourth in the franchise and why there's every chance of more based on the amazing amount of great comic books they haven't yet touched.
First Class contains some of the briskest and most efficient storytelling I’ve seen in any recent blockbuster. An awful lot happens, and awfully quickly at times, but it’s all clear and while some nice moments might be over in the blink of an eye, this can only reward repeat viewers.
There’s a sequence later in the film, from which much of the material for the “character trailers” was gathered, that actually uses split screen to crack the pace up one more notch. This film does not hang around – and at over two hours of running time, that’s a virtue, because when nothing drags, and the audience don’t get bored, the minutes just whistle by.
I am happier overall with "X-Men: First Class" than with any other film released so far in the "X-Men" franchise at Fox. And I suspect that when I see it again before my full review, I may find even more to like about it. Right now, I'm still sort of in shock at how much of it works, and how ambitious the entire thing is.
I'll have a full review of the film closer to release, and in that, I might get a little spoilery. But my first impressions of the film are so strong that I want to share the big points without spoiling anything for you. First, there's the style of the world, the way the mutants are built into reality, and I think one of the things that makes this such a success is the confidence that's part of every choice made by Matthew Vaughn and his creative team. The film is set in the '40s and the '60s, and while I wouldn't call it realistic, I think the impressionistic take it offers on period is even more fun than if they did it as complete realism. The powers are so matter of fact, so much a part of the world, that it never feels like the film stops to show off. "Hey, look, this guy teleports!" Well, no duh. That's the sort of movie this is. People teleport. The film just takes that as a given, and so action scenes erupt without too much labored exposition or set-up. We learn how things work as the film needs us to, and not before. Characters are still discovering their own abilities, still learning how the world around them works.
Going into the film, I had so many expectations (most of which were set-up by the trailers). I had assumed that the advertising was being packed with all the moments in an effort to sell a action-less origin story, but I was surprised at how much action was actually the film. I don’t think anyone will see this movie and come out disappointed. It strikes a great balance of being accessible to non-comic book fans and packing some pretty cool easter eggs that comic geeks will love (I will keep this vague as I don’t want to spoil any of the fun).
Source: The Sun / BLEEDING COOL / HIT FLIX / SLASHFILM