FOX *CBM thread - RIP STAN LEE - Dark PhoeniX 06/07/19

Where Do You Rank LOGAN Among CBMs?

  • Best CBM to Date

    Votes: 13 16.7%

  • Easily Top 5

    Votes: 28 35.9%

  • Top 10, Maybe Top 15

    Votes: 29 37.2%

  • Mediocre at Best

    Votes: 5 6.4%

  • Not Good at All

    Votes: 3 3.8%
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    78
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Posted this quick movie review by someone from comicbookmovie.com when he attended that fan viewing:

There are some slight alterations to Deadpool’s origin here, but it serves the film well. It gives him a streamlined story that will be easier to digest for the general movie-going crowd. The essentials, after all are there: mercenary, cancer, experiment, superpowers. Anything else is just window-dressing.
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Harriett Tubman of mutants? :smh:

This will be a digital rental...
 
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They really have gone too far with appropriation.

************* got stupid and really ran with this metaphor of Prof. X being MLKJR and Magneto being Malcolm X when they're not.
 
pr0phecy718 said:
But those characters are based on those two :nerd: I thought ....
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No in reality they aren't.

It's just a comparison that came afterwards and hell if they were really based off them Stan and Jack would've made them black.

Magneto ends up being a former holocaust survivor that believes mutants will soon dominate the planet and wants to hurry that up. Xavier believes in peaceful coexistence with humans.

MLK believed in integration, that we were one race, equality, etc. Malcolm first solely believed that the only way black ppl would overcome and advance in society was through unity under the nation of Islam. He wanted no help from white folk whatsoever. Then when he saw some of the lies of NOI he lessened some of his more radical views but still wasn't completely open to white ppl helping black ppl.

Now there's no in-depth comparison needed given one pair are fictional characters but to me it's been nothing but a nice metaphor not that the real figures were source material for the characters. If it was it'd be severe appropriation given it was a while before there was a black mutant. A bunch of white kids talking about they want equality cuz they got super powers. Then later on even got the nerve to try and flip the n word usage on black ppl with made up words for mutants.

Miss me with that.
 
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Aaaand race thread


Lol at shoving Jlaw down my throat like this. Could have sworn Mystique was a b-list mutant at best
 
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blacklion23 said:
I don't know, I've always drawn similarities between being black and being a mutant.
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Listen I'm not saying ppl, the readers haven't drawn similarities. I'm talking about the creators intent and the creation of the concept of X-Men.

They made the X-Men in the 60s so concept wise no doubt the Civil Right's movement was something they drew from but not the MLK/Malcolm and Xavier/Magneto parallels which are thin. The real driving force in making the X-Men came from Marvel comics needing to grow it's comic line. At the time Fantastic 4 was their best selling comic and Stan would try and recreate that success by making slight knockoffs of the F4. The X-Men was basically the F4 but just with teenagers and an older mentor instead of a couple, her brother and the guy's best friend. Plus Stan needed a way to mass create characters without having to come up with a new origin of each of them.

I think the easiest stuff to look at is Stan Lee and Jack Kirby are two Jewish guys. Some of the Jewish history is very relatable to black ppl's history of plight and struggle. They got enlisted or at least Stan did (didn't see any action). These guys lived through WW2. Very similar acts of oppression and being treated as inferior. Biggest thing that separates them from black ppl is skin color and where Jewish ppl have gotten in certain areas. With that said, it's the 60s and coming out of the 40s and 50s lots of groups of ppl were being targeted. So it's hard to say the X-Men concept was taken from just one thing. I mean read their stories specifically it didn't delve hard in to a metaphor of black ppl fighting for civil rights.

It was only until in the 70s when Chris Claremont took over that he started doing heavy parallels about race, the struggle and society's treatment of oppressed ppl and even then there were slim pickings for black characters to better represent that. It was only until the late 80s that Marvel editors even realized they had a huge black audience that loved the X-Men comics.

To bring it back to today, 2016. There's no reason Singer shouldn't be using black characters to tell those stories instead of appropriating it. No reason. Plus with what's he's saying it's completely disingenuous. It's like he's just riding this race wave movement of black ppl wanting to be represented in Hollywood by using a racial theme and name dropping a pioneer.
Tdogg2k said:
Theyve been trying to make mystique important for yearssss now.
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Seems like we never will. It's crazy cuz they were on the right track in X1 and X2. She just didn't get a lot of lines. Had the look for it and everything. Then they botch it with mutant and proud.
 
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‘X-Men: Apocalypse’: Over 75 Things to Know about the Epic Superhero Sequel

http://collider.com/x-men-apocalypse-news-things-to-know/#

When the movie begins, everyone has gone different directions: Charles and Hank are at the mansion with a new class of students, Erik is living a domestic life in Europe, and Raven is living her own life as a mutant freedom fighter.

The film opens with sequences that are set 5,000 years in the past, and Bryan Singer and Simon Kinberg watched a bunch of documentaries about ancient Egypt and Pyramid theory to prepare.
They wanted the sequences to have a Biblical feel to them.

The world that exists in Apocalypse differs from the other X-Men movies in that in this timeline, mutants were exposed to the world in 1973 during the debacle at the White House, and so they’re living out in the open and mostly accepted.

At the beginning of the movie, Raven is traveling the world trying to put a stop to the prejudice that hides under the surface of the apparent acceptance of mutants.

This new timeline is not necessarily leading towards the first X-Men movie anymore, although the philosophy is that the river will mostly end up in the same place with a few divergences here and there. This timeline is leading up to the New Future seen at the end of Days of Future Past, barring any other time travel changes.
In this new timeline, people could die that were alive in X-Men 1, 2 and 3, and people could survive who died in those three films.

Apocalypse completes the story of Charles, Erik, Hank, and Raven that began in First Class and in some ways is about “bringing the family back together.”

Scott and Jean are main protagonists of the movie, and their arcs are very connected to Charles and Raven in the film, with Charles being the father figure and Raven being the leader.

This version of Scott Summers is “kind of a messed up kid who’s struggling to find his place in the world,” and he’s not happy about being at Charles’ school.

Cyclops’ sunglasses are Ray-Bans.

After Tye Sheridan found out he was going to play young Cyclops, he wrote a handwritten letter to James Marsden telling him how honored he felt to inherit the character, and Marsden responded by email within a few hours.

The film explicitly deals with the fact that Scott and Havoc are brothers and explores that relationship, which is something they’ve been wanting to do since they introduced Havoc in First Class.

After Lucas Till (Havoc) wrapped his scenes, he wanted to stay in Montreal with the cast until the movie was finished shooting, so he moved in with Tye Sheridan (Scott).

Thematically, Apocalypse is about families coming together.

Kinberg describes the tone of the film as a mix between the lightness of First Class, with the young mutants and “80s kitchiness”, and the darkness of Days of Future Past on account of the global stakes.

Since the mutants aren’t in hiding anymore, this Charles Xavier’s School for the Gifted is a much bigger school and a “brighter, happier place” at the beginning of the film.

The arc of Charles in Apocalypse is the mirror of his arc in DOFP in that it’s one of him having too much hope at the beginning of the film to becoming a little more hardened by the end. They’re moving towards a Professor X who is “slightly different” than the Patrick Stewart Xavier we saw.

There are “a few” iterations of the Four Horsemen in the film.


Psylocke wasn’t originally the fourth Horseman of the Apocalypse. When they felt like they needed a different character, Bryan Singer and Simon Kinberg decided they wanted it to be female and, after cycling through the different Horsemen landed on Psylocke. Kinberg had just met with Olivia Munn for a role in Deadpool, and so he immediately thought she’d be a good fit.

When Munn was asked to play Psylocke, she immediately emailed Simon Kinberg fan art that had been made of her as the character.

Psylocke’s origin is not dealt with in the film, but there are small subtle references to it for the fans. When we meet her, she’s already fully formed as Psylocke.

Psylocke’s costume was originally black, but Olivia Munn said it had to be purple to be more in line with the comics.

It was important to Munn that despite the sexualized nature of Psylocke’s costume, the character’s substantive storyline and backstory not be neglected. She sees her as a weapon who’s used to being used, and she’s just looking for “righteous purpose.”

In the film we see Pyslocke being telekinetic, but we don’t see her being telepathic. Munn and Kinberg made the decision that her telepathy is a power that Psylocke holds close to the chest.

Pyslocke has both a real sword and a psy-dagger in the movie, and she uses both at the same time to throw her enemies off.

Michael Fassbender and Simon Kinberg worked out Erik’s arc during the press tour for Days of Future Past, deciding they wanted to see him trying to live a normal life and having that ripped out from under him.

In the development of the script, Kinberg and Singer spent a lot of time watching different versions of the Apocalypse cartoons.

Kinberg and Singer spent nine months to a year in the conceptual phase on Apocalypse before Kinberg started getting to the shooting script.

The Apocalypse of the film is amalgam of a lot of different versions of the character from the comics and the cartoons.

Singer describes the film’s version of Apocalypse as “the God of the Old Testament”

Apocalypse was chosen as a villain because he’s visually interesting, but also because Kinberg and Singer wanted to see what it would be like for someone who was treated as a god in his time to wake up in a world where he was treated, at best, as an equal. They wanted to explore how that would radicalize the individual.

Apocalypse has multiple powers in the film, but they had to put limitations on the character in order to provide conflict, otherwise it would be a very short movie.

Apocalypse moves from body to body, as he’s not himself a physical form but an “energy,” and so he accumulates powers over the millennia by changing bodies.

The mutant body that Apocalypse chooses to inhabit at the beginning of the film turns out to be a bad choice, which results in him being stuck for a long time.

Oscar Isaac was their first choice to play Apocalypse, and early on they knew they wanted to cast someone who was not white in the role.

Apocalypse wants to bring order to the world, no matter the cost.

The other Fox comic book adaptations Deadpool, Gambit, Fantastic Four and Wolverine take place in a post-Days of Future Past, post-Apocalypse The stadium dropping on the White House in 1973 is a key piece of their history.

The film was shot in native 3D so as to maintain the purity of the format and to cut down on the post-production time that would be needed for a conversion, thereby giving them more time for the creative process.

Hank is teaching in the school when the film begins, and he builds inventions for some of the new characters that are having trouble with their powers. He also builds the X-Men jet.

Hank and Charles still have a happy relationship, and one that is more of contemporaries than mentor/mentee, but whereas Charles is content with the seemingly healthy relationship between humans and mutants, Hank still believes the world needs the X-Men, which is why he’s been building the jet.

The ratio between Hank and Beast in the film is about 50/50, with Nicholas Hoult out of makeup for the first half of the film and then in the makeup for the second half. They used a different rubber for his makeup this time around, which allowed Hoult’s natural facial features to shine through more.

Hoult came up with an idea on set, in the spur of the moment, for Jean to use Scott’s head like a 50 cal during an action sequence, since Scott can’t control his powers yet.

Hoult and McAvoy have become good friends off-set, so Singer’s fondness for sometimes improvising on set allowed them to play around more with their relationship onscreen.

Hank takes on a more paternal role with the new younger X-Men characters.

There’s a scene in which the blue-ness of both Hank and Nightcrawler is acknowledged in a comedic way, and they shot several different versions of it.

The memory loss of Rose Byrne’s Moira is played for comedy throughout the film. At the beginning of the movie, she’s still working for the CIA.

On the set of Apocalypse they had talked about ideas for the next X-Men movie, but not as extensively as they had talked about Apocalypse while on the set of Days of Future Past.

Kinberg says everything that hasn’t been told in First Class or Days of Future Past is up for grabs, including the Dark Phoenix saga.

Angel appears in two forms, Angel and Archangel, but his wings are completely CG.

If Days of Future Past was the journey of Charles, Singer says Apocalypse is the journey of Erik and Raven.

There are three romances in the film: Raven and Hank, Jean and Scott, and Xavier and Moira.

Havoc has “cleaned up his life” and now lives in Omaha, working as an executive at Berkshire Hathaway.

When development began, Singer knew he wanted to tell two stories: What happened to Raven and Erik when they left that stadium, and the origins of Jean, Scott and Storm.

Celestials may or may now factor into Apocalypse in some way.

The young mutants in the film are “a mess,” and are still very much trying to figure out their powers.

Singer had fun playing with the 1983 setting since that was a formative year for him as a teenager, and there’s a scene in the film where the characters debate whether Empire Strikes Back or Star Wars is a better movie.

Visually, Singer says Apocalypse will be one of the most elegantly-lit films he’s ever made, but also a bit darker because of the grave nature of the events unfolding.

Kinberg and Singer often rewrote scenes on the day after being inspired by a location or character turn.

One major set piece involves unique photography with Go-Pros, the Phantom camera, stunt work, choreography, and visual effects.

Singer brought in X-Men screenwriters Mike Dougherty and Dan Harris in the early stages of the development process to “get the juices flowing,” sitting around with them and Simon Kinberg to talk about the possibilities of what X-Men: Apocalypse could be before Kinberg went off to write the script.

To decompress from the stress of shooting the film, Singer would go home at night and watch the CBS series Elementary.

Jubilee’s power in the film as more of a fire-plasmoid or electricity type rather than simply fireworks.

When the movie begins, Jubilee has been at Charles’ school for about 10 years.

Jubilee doesn’t have a huge role in the film, but she serves as more of a comedic relief as part of the Scott/Jean/Nightcrawler friend group.

Jubilee’s costume has a punch of pins on it and shoulder pads, in keeping with the 1980s aesthetic.

The Nightcrawler that we see in this film is much closer to his comics iteration, as he’s more vulnerable, swashbuckling, and joyous, but he’s also still grounded in his faith.

Nightcrawler has a scuffle with Angel before Angel becomes a Horseman.

In the 10 years since Days of Future Past, Stryker has been developing his own plan for how he wants to proceed re: the “mutant problem.”

Apocalypse beings Stryker’s journey to becoming the villain we know him to be in the later films.

When we first meet Storm she’s in Cairo, in survival mode picking pockets and thieving; the only mutants she’s ever known are bad mutants. Then she meets Apocalypse, who offers her a sense of belonging.

Alexandra Shipp is doing a Kenyan accent for this version of Storm.

Storm is alone, a foster child with huge potential, and in Apocalypse she finds a father figure who gives her purpose.
Evan Peters spent 30 days in total shooting the new Quicksilver sequence, which filmed in pieces so they could go back and check and make sure each bit worked.

Quicksilver knows who his father is in the movie and has been trying to find him for the last 10 years.

Quicksilver has “cleaned up a bit” in Apocalypse, and isn’t quite the kleptomaniac we saw in Days of Future Past.

There’s more Quicksilver in Apocalypse than there was in Days of Future Past; he has a more substantial role.

Evan Peters describes this new Quicksilver sequence as a sequel, saying they took elements that worked and tried to improve upon them.

No one would confirm or deny whether Hugh Jackman has a cameo in the film as Wolverine—out of everything, this was the tightest secret kept on set.
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The black costumes are so 2001 lol. Just give everybody Negasonic's blue and yellow. I guess they're building up to that.


And **** Jlaw "Harriet Tubman" Mystique. I miss in the cut ride or die killa Mystique.

Bald McAvoy murkin it :smokin
 
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