This prequel to the relatively long-running X-Men series begins bravely, subsuming the superhero story into politically flammable historical events.
It’s a device used expertly by the original comic writers, giving the fantastical adventures a weighty context. But considering the general blockbuster viewer, there are some justifiable concerns with whether this is a responsible move.
We begin in a morbid Second World War Germany in the thrall of the Nazis, where a young Magneto is disturbingly forced into revealing his power to save the life of his captive mother.
We then move to a lighter 1960s America, where other mutants are discovering their powers and that they are not alone in possessing them. The CIA are then mixed up in the brew and the rise of the X-Men becomes embroiled in the Cold War.
Where the screenplay works is in using the interesting idiosyncrasies of many of the mutant characters to build satisfying origin stories from them. The story behind Magneto’s odd helmet; the split between him and Charles Xavier and the even origin of the gang’s spectacular jet are all lovingly tied up.
At times the film’s pace is a little slow and at over two hours, this addition to the saga occasionally loses its sense of tension as it explores the protagonist’s powers, but that’s probably why most fans are going to see it anyway.
One major complaint, however, is that somewhat ridiculously, if not very ridiculously, this X-Men origin story becomes interlinked directly with the reasons behind the Bay of Pigs incident in Cuba. The events unfold so shamelessly against a hugely controversial moment of sullied American history that it trivialises the actual events of the day, venerating the CIA’s deplorable actions with barely a raised eyebrow.
Maybe such fantasy is best left to the more serious pages of comics.
But apart from that vastly irresponsible piece of historical massage - and a fairly sick death scene towards the end - the effects are great, the performances are competent and X-Men fans will be in heaven.