Sophie Turner, on the other hand, seems to recede into the background as a young Jean Grey struggling to come to terms with her paranormal abilities. Nightcrawler is positively adorable – an awkward, innocent slip of a character whose powers are matched only by his naivety. The roster of characters is such that some inevitably shine where others are eclipsed. How do you introduce all these characters, reiterate their back stories for new viewers, track their arcs and keep the story moving forward smoothly all at the same time? It’s a tricky feat to pull off, and X-Men: Apocalypse struggles with the process more than X-Men: Days Of Future Past did. As in X-Men: Days Of Future Past, Bryan Singer loads his basket with so many heroes, villains and plot-strands that the film itself seems to be straining to keep up with them all. This, at least, is the plot in the broadest of strokes. Having retreated from the world following the events of X-Men: Days Of Future Past, Magneto again finds his life upended by forces outside his control, and after a bit of manipulation by Apocalypse, joins the glowering villain in his plot to cleanse the Earth of the weak – that is, ordinary people like you and me. Stirring from his slumber, Apocalypse draws together a band of minions, among them Angel (Ben Hardy), Psylocke (Olivia Munn) and Storm (Alexandra Shipp), before turning his attention to the most wanted mutant of them all – the now reclusive Magneto (Michael Fassbender). Oscar Isaac plays the Apocalypse of the title – the earliest mutant who ruled as a god in the ancient world.
Where that 2014 hit – the biggest financial success of the franchise so far – was about travelling into history to save the future, X-Men: Apocalypse sees an ancient enemy waking up to cause global havoc in the year 1983. In the pursuit of ever higher stakes, X-Men: Apocalypse stretches to exceed the epoch-spanning scale of X-Men: Days Of Future Past.
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