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Rating: 6/10 (30 September 2013)

"We are the future Charles, not them. They no longer matter." – Magneto
Bryan Singer's X-men plagued me with a wealth of interest based on my academic involvement in evolutionary science. It also deals with modern social struggles, superiority complexes among intelligent super-minds, quick-witted one liners and some downright incredible haircuts. This is a fond throwback to one of the key comic book films of all time, which I would argue gave faith to film companies to stick with the genre after some poor efforts in the late 90s.
The story is very simple: the antagonist, Magneto, has built a machine that can force mutations within human beings, at great cost to the operator's strength. By using the machine, powered by young Marie/Rogue (infused with Magneto's metal controlling abilities), Magneto will transform several world leaders and dignitaries, who are gathered on Ellis Island NYC for a peace summit, into mutants. Wolverine, Cyclops, Storm and Jean Grey must stop him, as his device is not only deemed immoral by the X-Men, but they have witnessed the potential for it to kill humans who's cells aren't equipped to deal with forced mutation. It is however, the sub-plot of mutant alienation and criminalisation/ victimisation, and how the mutant characters deal with the shackles placed on them by society, which makes X-Men a complex, original Superhero film, and indeed series.
X-men takes real life issues, such as homosexuality and disability, and places them in a surreal world, where mutants are feared by mankind because they are deemed unnatural by key figures in society. Senator Kelly (Bruce Davison) is that divisive figure in this film. Seeking to instill a sense of fear of the unknown in the American populous, he suggests that mutants could be dangerous, and are national security liabilities unless they can be registered. This causes a reaction within one particular mutant named Magneto, who is ready to initiate war against humans under the Darwinian theory that a species must adapt, or be replaced by a stronger, fitter one. Rather than forcing an entity of pure evil upon us in Magneto, Singer opens the film by showing the torment and evil that has befallen him under mankind; as a young boy he is separated from his parents in a concentration camp, triggering a dormant powerful mutation within him, along with a burning hatred for human beings. McKellen is the perfect Magneto. A man who has lived a life as a member of an outcast community understood the role perfectly, and was even able to offer help to Singer and his crew, understanding the more subtle social issues behind mutants. Equally convincing is his role as an ego-maniacal would-be-dictator.
Unfortunately, Magneto's crew fall far short of the mark in representing what he stands for. Sabretooth doesn't have any dialogue, but offers nothing in the way of body language or facial expression to compensate. Toad makes an excellent, resilient fighter, and brings some comic relief to the Brotherhood, but his character just lacks the seriousness needed to fill the gap for the mute Sabretooth and the quiet Mystique. Mystique's make up is astounding, and her character is sleek and deadly in and out of combat. Although later X-men films focus on her a great deal more, she just doesn't get enough screen time or dialogue in the original film to have any real impact in the way that the "lesser" X-men do.
The X-Men, under the calm, yet powerful guidance of Professor X. (expertly portrayed by Patrick Stewart against McKellen's Magneto), seek to prevent all out conflict between Magneto's Brotherhood of Mutants and man, with a goal to help the two understand one another and live harmoniously. The X-men are portrayed faithfully, but just seem a little diluted, which is a shame as some sparks of on screen chemistry are quite visible, particularly between Wolverine and Cyclops. Hugh Jackman really is the perfect candidate for Wolverine, forgiving him a 12 inch height difference. His accent, facial expressions delivery of both snappy one liners ("What d' they call you? Wheels?"), and confrontational snarls are all in perfect character. Call it teething problems, but his later performances are more naturally aggressive and cantankerous than in this film, but he's easily forgiven, as Wolverine is probably the strongest character alongside Xavier and Magneto.
Cyclops and Jean Grey are both competent on screen, but seem to rely (much like the entire franchise at times) on Jackman's Wolverine to help character development. This also holds true for Storm; her moral deliberation with Wolverine in Xavier's mansion is her most prominent non-battle scene moment in the film.
Rogue is the final main X-man, though she doesn't become fully fledged in this film. Her character is portrayed as an innocent, misunderstood teenager who has a mutation which leaves her feeling isolated from others of both human and mutant kind. Again, her character clings to Wolverine, but far more closely than any of the others. Several poignant scenes are shared between Paquin and Jackman's characters; indeed, Wolverine is the only one who can soothe Rogue's troubled mind when she is most vulnerable, though she did inadvertently almost kill him twice. She, along with Magneto, embodies the ideologies behind the film: isolation, suffering, and alienation from normality.
X-men was a very good film for a time when mainstream audiences were disenchanted with the Superhero genre. The expertise of actors such as Jackman, Stewart and McKellen, an inventive plot dealing with issues beyond just fighting bad guys and personal feuds, and, flaws aside, a passable gallery of superheros and villains immersed in a world where regular humans are an active component in the battlefield gave Hollywood something new, and arguably gave birth to the 21st century comic book film explosion.
X-men (2000)
Allan's Score: 6.5/10