|Film||Rotten Tomatoes||Metacritic||Yahoo! Movies|
|X-Men||82% (155 reviews)||64 (33 reviews)||B (21 reviews)|
|X2||88% (222 reviews)||68 (38 reviews)||B- (15 reviews)|
|X-Men: The Last Stand||57% (228 reviews)||58 (38 reviews)||B+ (15 reviews)|
|X-Men Origins: Wolverine||37% (250 reviews)||No consensus (1 review)||C (13 reviews)|
|X-Men: First Class||87% (238 reviews)||65 (37 reviews)||C+ (12 reviews)|
Wesley Morris of the Boston Globe praised the X-Men films as "more than a cash-guzzling wham-bang Hollywood franchise... these three movies sport philosophy, ideas, a telethon-load of causes, and a highly elastic us-versus-them allegory." Morris praised X-Men: The Last Stand for "put the heroes of a mighty summer blockbuster in a rare mortal position. Realism at this time of year? How unorthodox!" Roger Ebert gave the films good reviews, but criticized them because "there are just plain too many mutants, and their powers are so various and ill-matched that it's hard to keep them all on the same canvas." Mick LaSalle of the San Francisco Chronicle, criticized the films' themes, saying "The pretensions take the form of the central metaphor that compares mutants to people of extraordinary, groundbreaking talent. That metaphor is bogus... The vision at the heart of X-Men – of a golden Utopia in which humans live side by side with mutants – is absurd."
The first two films were highly praised due to their cerebral tone, but when director Bryan Singer left, many criticized his successor Brett Ratner. Colin Colvert of the Star Tribune felt "Bryan Singer's sensitivity to made the first two X-Men films surprisingly resonant and soulful for comic-based summer extravaganzas... Singer is adept at juggling large casts of three-dimensional characters, Ratner makes shallow, unimaginative bang-ups." James Berardinelli felt, "X-Men: The Last Stand isn't as taut or satisfying as X-Men 2, but it's better constructed and better paced than the original X-Men. The differences in quality between the three are minor, however; despite the change in directors, there seems to be a single vision." David Denby of The New Yorker praised "the liquid beauty and the poetic fantasy of Singer’s work", but called Ratner's film "a crude synthesizer of comedy and action tropes."
The X-Men films received good reviews from fans of the comic books, but there was criticism of the large cast, and the limited screentime for all of them. Richard George of IGN praised the depictions of Wolverine, Professor X, Magneto, Jean Grey, Storm, William Stryker, Mystique, Beast and Nightcrawler; however, George thought many of the younger X-Men characters, such as Rogue, Iceman, Pyro, and Kitty Pryde were "adjectiveless teenager", and was disappointed by Cyclops' characterization. He observed the filmmakers were "big fans of silent henchmen", due to the small roles of the various villainous mutants; such as Lady Deathstrike. George thought that the success of X-Men "paved the way for other hits like the Spider-Man series, Fantastic Four, V for Vendetta and Singer's own adaptation of Superman." Spider-Man director Sam Raimi said he was a fan of the series, particularly Singer's films. Film historian Kim Newman also tonally compared Batman Begins to Singer's films.
Other articles related to "critical response":
... Peter Hartlaub, of the San Francisco Chronicle, felt Zombie was successful in both " his own spin on Halloween, while at the same time paying tribute to Carpenter's film" he thought Zombie managed to make Michael Myers almost "sympathetic" as a child, but that the last third of the film felt more like a montage of scenes with Halloween slipping into "slasher-film logic" ... Nathan Lee of The Village Voice disagreed in part with Harlaub, feeling that Halloween may have placed too much emphasis on providing sympathy for Michael Myers, but that it succeeded in " Carpenter's vision without rooting out its fear" ...
... In a review of their album Spice, Ken Tucker from Entertainment Weekly called it "a fearlessly corny ballad", and added that it "will likely keep them from being one-hit wonders in America" ... Melissa Ruggieri of the Richmond Times-Dispatch said that in the song, the girls "are sunny vocalists who harmonize with perfumey sweetness when called upon" ...
... An August 1972 review by Time said that many of the film's ideas "sound good on paper" but that the "skits wind down rather than take off from the ideas" the film includes "some broad, funny send-ups of other movies (Fantastic Voyage, La notte), and its fair share of memorably wacky lines" but that "overall it is just Woody marking time and being merely a little funnier" ... The Time Out Film Guide noted that some of the film's sketches are "dross, but the parodies of Antonioni (all angst and alienation of a wife who can achieve orgasm only in public places) and of TV panel games ('What's My Perversion?') are brilliantly accurate and very funny ...
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