Fassbender tra tutti narra un Erik/Magneto figlio del dolore, della vendetta, ma che non cede ad una sorta di umanità mitizzata, ma non negata. I personaggi che si muovono su pellicola sono tra i più riusciti della saga: La Fox lo fa e sceglie la via della "resurrezione", una sorta di reboot in alcuni casi, con cambi al cast e atmosfrere lontane (molto lontane) rispetto alle altre pellicole, e malgrado il film sia stato girato alla velocità della luce per un release avvenuto davvero pochi mesi dopo il suo concepimento ufficiale non risente di alcun difetto, sbalordisce per la narrazione (perfetta, oserei dire) cronologica, si inserisce (non senza alcune ret-con) nell'universo filmico mutante e raccoglie consensi come non mai. Sì, perché dopo alcune delusioni avute con gli ultimi due film del franchise (X-Men Conflitto Finale: bello, ma risente troppo della perdita di un regista come Singer e per il terzo film di una trilogia si doveva osare di più, a partire dalla durata della pellicola stessa - X-Men Le Origini: Wolverine: uno spettacolare film di intrattenimento, ma con un regista incapace di gestire le scene d'azione, trama che si perde nella seconda parte e degli effetti speciali non proprio efficaci in alcune sequenze) si sentiva il bisogno di rinnovare il brand mutante al cinema.
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I hope Jackman is employed to write any future scores for this franchise reboot, and look forward to more of his work in the future - he is clearly a very talented composer.X-Men L'Inizio è l'eccezione alla regola, il miracolo della rinascita. Add in several stand-out tracks (I'm thinking "First Class, X-Training and X-Men here) and this gives a perfect superhero score. It's bombastic and epic which has a perfect orchestral/rock/electronic fusion and is a strong listen from start to finish. First Class though just has something about it that elevates it beyond a bog-standard action score. In summary, I have personally loved all the previous X Men soundtracks, with John Powell's outstanding X-Men: The Last Stand being my favourite up until now. Jackman works in Hans Zimmer's Remote Control studio, and so the album as a whole feels very well produced and has a brilliant mix throughout. The album runs in at 60 minutes, and the felt like it was a perfect length. I would have preferred it is it was slightly less obvious though (although for most casual listeners I doubt you would noticed or cared)! If you like that particular track - I think COTT would be for you. The track "True Colours" felt slightly out of place in that the sub-theme it introduces in the first 60 seconds is a carbon copy of the main theme of Clash of the Titans. It's this sort of track the repeat button was designed for! There are quieter portions as well, which adds a nice flow to the album ("Rage and Serenity" and the opening of "To Beast or Not To Beast" would be good examples here). It appears in "Cerebro", but it's finest moment on the album comes in the outstanding track "X-Training", where the mix of electric guitar, electronics and orchestra is spine tingling in its execution.
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There's some great string writing present before the orchestra and more rocky elements come in. The main theme as introduced in the opening track "First Class" is, well, first class.
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Composer Henry Jackman is a relative newcomer to film scores, and I think this is reflected in the fresh and vibrant feel of the album. What am I thinking?! Well firstly, this is a superb action soundtrack which is up there with the best of 2011.