X2: X-Men United - A Spectacle Over Substance?
The second installment of the “X-Men” comic book series, “X2: X-Men United,” might not surpass its predecessor in terms of plot depth, but it certainly elevates the visual spectacle. While adults might find themselves yearning for more substance, the film’s allure for younger audiences is undeniable. One undeniable aesthetic triumph is director Bryan Singer’s ability to seamlessly blend a chaotic mix of fights, chases, explosions, fires, flights, and other elemental mayhem into a cohesive whole.
Singer possesses a keen sense of style, although he previously channeled it into character development when working with limited resources (“The Usual Suspects”). With a larger budget, he shifts his focus to the grand scale of the environment. “X2: X-Men United” will particularly resonate with those who religiously follow weather forecasts.
An Attack on the White House
The film kicks off with a bold premise: White House tours as the perfect opportunity for presidential assassinations. It begs the question of why this hasn’t happened in real life. In this comic book world, a cloaked, hooded figure, complete with a tail, black skin, and tattoos, capable of teleporting like purple smoke, gains easy access. He promptly attempts an assassination with a utility knife, triggering a chase and leading the President to the realization: mutants exist! Apparently, he missed the memo in the previous film, or perhaps he hadn’t been elected yet.
The Plot Thickens
The main narrative revolves around the arrival of the sinister scientist Stryker (Brian Cox), who becomes the central antagonist. As the President grapples with the decision of whether to outlaw mutants, Stryker operates outside the bounds of the law. His plan involves manipulating the gifted children to serve his own purposes. He aims to steal the mutants’ sophisticated Cerebro search system and reconfigure it in his underground laboratory to eliminate all fire-breathing and saber-toothed mutants.
Magneto (Ian McKellen), a prisoner of conscience, becomes entangled in the intrigue, along with Professor X (Patrick Stewart) and familiar faces like Wolverine (Hugh Jackman), Jean Grey (Famke Janssen), Mystique (Rebecca Romijn-Stamos), and Storm (Halle Berry). It’s crucial to remember that Magneto’s ultimate goal is the eradication of humanity, while Professor X strives to integrate mutants into society as valuable members.
A Hogepodge of Wonders
Given the straightforward nature of the plot, the film essentially becomes a collection of fantastical set pieces. Conversations lead to raids on forest schools, which then transition into flights on magical aircraft. Further revelations culminate in battles within underground bunkers, followed by explosions and floods. This abundance of spectacle raises numerous questions. What were the circular markings on Magneto and Nightcrawler’s (Alan Cumming) necks? Who was the paranoid character with the scar on his head? Where did he and the strange girl disappear to? Why couldn’t Jean Grey halt the water flow while standing in an open hatch? However, does any of this truly matter when everything is visually stunning?
Visual Highlights
Halle Berry’s white wig is a standout – she’s less off-putting as a blonde than she was in her Bond-era bikini. The tornado effect during the aerial chase is impressive, and the scene where the plane hovers just above the ground is also noteworthy. While the romantic subplot between Wolverine and Jean Grey is uninspired, the moment when Mystique infiltrates Wolverine’s tent and shapeshifts mid-coitus is amusing. The “soft humor” of the inexplicably mute Nightcrawler will likely appeal to children. Is this America’s revenge on Europe for the rising Euro? In short, there are some purely technical delights to be found. As a comprehensive guide to cutting-edge technology, the film works reasonably well.
Comic Book Style
The film’s uncompromising comic book-style editing, with abrupt transitions between scenes, provides enough visual stimulation to occupy the mind for at least the first half-hour of its two-plus-hour runtime. This is especially true for those who missed out on comic books as children or haven’t seen the first film. They’ll be constantly wondering, “What’s that?” and “What’s this?” However, it’s important to understand that in films of this nature, IQ is inversely proportional to EQ (emotional quotient).