Superhero movies are what they are today, but before the movie studios discovered that they are a machine that generates money they had to take risks with the first adaptations. In the 1980s and 1990s, series and films about other characters had already been made, but never in the way that they continue to be produced until now. During that time, summer cinema as we know it until now began, with blockbusters starring well-known actors and yet comic book adaptations remained a tiny part of the genre despite a few exceptions that were better valued over time.
Do not miss it: The X-Men movies ranked from best to worst
It was in the year 2000 when the superhero film scene, which had already been changed by Batman – 72%, by Tim Burton, went through a transformation again in the sense of how audiences see these types of films, as well as in that mass production format that continues to be used, especially by Marvel Studios that came to release up to three movies per year. The X-Men universe was exploited by Fox since it was their best product in the face of possible competition, and we say possible because it was ahead of a couple of years, since apart from Warner Bros., to whom the rights belonged. films of the Bat Man, at that time it was Sony who could take part of the market with Spider-Man.
The X -Men Love – 81%, directed by Bryan Singer, became a benchmark thanks to the fact that it was first seen as a cinema and not as just any comic book adaptation. This was made clear from that shocking opening scene that takes place in one of the concentration camps at Auschwitz, where a young Erik Lehnsherr is separated from his parents and manifests his powers for the first time, at least for us as viewers. Surely many expected something more colorful and silly, like the circus that Joel Schumacher did with Batman & Robin – 11% a few years earlier, but they ended up shocked. Superhero cinema had already been ambitious at times and very human at others, and yet no one expected that the first mutant movie was going to start with Nazi Germany.
Thanks to the grouping made up of Cyclops (James Marsden), Jean Gray (Famke Janssen), Wolverine (Hugh Jackman), Storm (Halle Berry), Rogue (Anna Paquin) and Iceman (Shawn Ashmore), a genre that became believed dead in the late nineties. It was full of special effects and actors in layers of makeup and tight suits, but it thoroughly explored that timeless comparison between Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) with Martin Luther King Jr. Y Malcolm X, since both were leaders who fought for the rights of their own, but believed in different ways to achieve it. Professor X believed that mutants should advance with non-violent acts, while Magneto considered a rebellion against humans necessary.
We recommend you: Why X-Men: The Final Battle Is Much Better Than Public And Underrated
During its time in theaters, it raised close to US $ 300 million from a budget of US $ 75 million (via Box Office Mojo) and thanks to its success it got a sequel, which was only the first step of something bigger, since since then films about the X-Men have not stopped being produced. Thanks to the debut of the mutants in 2000, we now have films like Logan – 93%, who came out of a trilogy starring Hugh Jackman, Deadpool – 84% and X-Men: Days of Future Past – 91%, not to mention the latest installments like X-Men: Dark Phoenix – 29%, in addition to different generations of actors and a crossover between the old and the new that drove their fans crazy, but in the long run it also served as an inspiration for other studios to launch their cinematic universes.
What did the critics think of the entrance of the X-Men to the cinema? Here we share what the specialized media said:
Jami Bernard from New York Daily News:
The X-Men comics have spawned an industry of mutant characters, and the movie helps make sense of these legions making sense while also offering established fans something new to learn.
Lisa Alspector de Chicago Reader:
Exciting primarily because anything can and does happen, the movie creeps a bit as it approaches a climax located atop the Statue of Liberty. But once there it revives.
Steven Rea de Philadelphia Inquirer:
This is a movie that should satisfy fans of very popular comics and audiences who can’t tell one strange X-Man from another. Mutants are the best.
Stephen Thompson from AV Club:
The script could be a lot more snappy, particularly during some virtually inexplicable rivalry jokes between Marsden and Jackman, but X-Men is a decent start to what will undoubtedly be an immensely profitable series of puny but enjoyable summer movies.
David Denby from New Yorker:
The most beautiful, strange and exciting comic book movie since the original Batman.
Jeff Giles from Newsweek:
It must be said that the X-Men only has a few really exciting moments. This is not a movie that tries to get you out of your seat. But more than any other great movie this summer, it has a consistently inventive vision.
Peter Rainer from New York Magazine/Vulture:
A rarity, a comic book movie with satisfying cinematic design and leads you want to see.
Peter Travers from Rolling Stone:
It sucks that this choppy edited movie seems rushed and incoherent in a way that overshadows its history of human resonance and the acrobatics of its anticipated power.
Dennis Harvey de Variety:
X-Men seems more like an episode in the middle of an epic series rather than a proper beginning.
Continue reading: The best superhero movies of the last 10 years according to critics