X-MEN: FIRST CLASS

As predicted Michael Fassbender and James McAvoy are outstanding in their respective roles as young versions of Erik Lensherr and Charles Xavier, respectively. What isn't so predictable is what an impressive job of dynamic storytelling the filmmakers execute for this prequel storyline to Marvel's celebrated "X-Men" comics.

With more than a tad of an anti-authoritarian, anti-militaristic messages, director/co-screenwriter and Matthew Vaughn juggles numerous characters, emotionally palpable subplots, and fascinating visual realities like Robert Altman on steroids.

The story moves from '40s era World War II to the Cold War of the '60s. Kevin Bacon chews some delightful scenery speaking German as Sebastian Schmidt (AKA Sebastian Shaw), a Josef Mengele inspired Nazi doctor who physically and mentally abuses the boyhood Erik Lensherr to a horrific degree.

Erik can move metal with his mind. This is a big deal. Adult Erik is on a revenge mission to hunt down and kill Dr. Shaw. Erik is pretty much a badass.

Cut to the mutant brother/sister duo of Charles Xavier and Raven (magnificently played by Jennifer Lawrence). Raven is a lusty blue-skinned shape-shifter. Charles is on his way to being a professor of microbiology. He leads with in intellect and ego. She leads with her lips. He is a "telepath" who can read minds with an interactive twist. She can instantly alter he appearance to look like anyone. A CIA investigation into Dr. Shaw's diabolical plans involving nukes brings the existence of mutants to the Government's attention.

An assemble-the-team plotline makes way for a small team of attention-grabbing mutant characters that include the energy-throwing Havok (Lucas Till), sound-blaster Banshee (Caleb Landry Jones), adapt-to-survive Darwin (Edi Gathegi), a Dr. Jekyll/Mr. Hyde-inspired Beast (Nicholas Hoult), and Angel (Zoë Kravitz) a winged fire-spitter. "X-Men: First Class" is a meaty comic book spectacle movie you can sink your teeth in. John Mathieson's cinematography is gorgeous. The editing team of Eddie Hamilton and Lee Smith keep the action ticking like a Swiss clock.

Rated PG-13. 130 mins.

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THOR

Chris Hemsworth plays Thor the God of Thunder, but it seems more like he's playing Heath Ledger playing the title character in Kenneth Branagh's visually stunning but narratively confined movie. Blame it on his Aussie accent. Marvel comics once again stubs its toe on a would-be summer blockbuster behind such slip-ups as "Howard the Duck, ""Daredevil," and "Hulk." As a popcorn movie for the masses, "Thor" is written with as little thematic edge as possible.

The Earthbound aspect of the story might as well be set in 1955 as in 2011. Natalie Portman is hardly credible as Jane Foster, a storm research scientist who travels around in a crash truck with her co-workers Stellan Skarsgård and Kat Dennings.

In the far reaches of outer space are where things get interesting. Although the 3-D effects are an afterthought, the production design for Thor's Kingdom of Asgard is fantastic. This is one great looking film. Thor's wily brother Loki (Tom Hiddleston) is a little too pleased to see Thor exiled from their kingdom by their father King Odin (solemnly played by Anthony Hopkins) after Thor leads an attack against their rivals, the Frost Giants. Said giants have about as much humanity and charm as a rattle snake, but in comic book land we must want our villains painted with a black brush.

For all of its limitations "Thor" entertains. Branagh balances the story's bi-polar settings well. As the director's Shakespearean lineage would forecast, every line of dialogue comes through loud and clear. Ten-year-olds will be blown away by "Thor." For the rest of us, it's a visually thrilling joyride with not much story to back it up.

Rated PG-13. 115 mins.

Groupthink doesn't live here, critical thought does.

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THE PUNISHER

The Marvel Comics series of comic book hero movies rolls on with a disastrous film rendering of “The Punisher,” AKA Frank Castle (Thomas Jane).

If you thought “Daredevil” was lousy, then you’ll be thoroughly irritated by the asleep-at-the-wheel pacing of the story of The Punisher’s origin.

Tampa kingpin Howard Saint (John Travolta) kills off Delta Force Op Frank Castle’s family after Castle is involved in a sting operation that kills Saint’s son.

The escalating revenge of the plot is rationalized to an act of “punishment” by Castle, who spends most of his time staying buff by working on his useless muscle car and placing guns and electronic devices around his grungy apartment.

Castle does take some time out from his busy vengeance agenda to pal around with his loser apartment neighbors, which include a lovely but forlorn waitress named Joan (Rebecca Romijn-Stamos).

But, on a bright note, “The Punisher” could be the movie that makes people begin to rethink the value of retaliation as a knee-jerk idea.

Rated R. 124 mins.

Groupthink doesn't live here, critical thought does.

This website is dedicated to Agnès Varda and to Luis Buñuel.

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