Also known as: Growing Pains (working titles), X-Men: The New Mutants (alternative title)
Release Date: August 26th, 2020 (Belgium, Spain, France, Poland, Portugal)
Directed by: Josh Boone
Written by: Josh Boone, Knate Lee
Based on: New Mutants by Chris Claremont, Bob McLeod
Music by: Mark Snow
Cast: Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Blu Hunt, Henry Zaga, Alice Braga, Adam Beach, Happy Anderson, Marilyn Manson (voice)
Marvel Entertainment, Sunswept Entertainment, Genre Films, Twentieth Century Fox, 98 Minutes
“Demon Bear! Let’s play a game!” – Illyana Rasputin
With two-to-three years worth of delays, Fox selling to Disney and everything else crazy that has been going on in the world, The New Mutants finally got released. I’m just glad it came out, after all this time, and that I got to see it in the theaters. Thankfully, it wasn’t simply dumped onto a streaming service, where it would’ve been treated as a complete afterthought.
Still, it’s hard to tell which version of the film we got. There were supposed to be re-shoots but they never happened, due to the Fox-Disney deal. Also, this was rumored to be pushing for an R-rating but it came out as PG-13. That probably has more to do with Disney now owning it, as opposed to representing the ideal vision of the director and the original studio.
With everything working against it, the finished product isn’t as big of a mess as I thought it would be. The editor definitely got a coherent film out of the material but it does feel light and a bit skeletal.
From what I understand, the re-shoots were intended to flesh out the story a bit more and to add more emphasis on the horror elements, as the success of the Deadpool movies led Fox to believe that R-rated comic book films could work.
As a massive fan of Illyana Rasputin a.k.a. Magik, it was incredible seeing her come to life in a live-action picture. It was even cooler seeing her face-off with the Demon Bear. It took something from my eleven year-old mind and brought it to life. And frankly, that moment alone made this film feel special to an old school New Mutants fan like myself. Plus, Anya Taylor-Joy was perfect as Illyana. I really hope this isn’t the only time she plays the character but I don’t have my hopes up.
It was also great seeing these other characters come to life in the flesh. I thought that Cannonball was a little weak but the other four characters came across pretty well. I wish that they actually expanded on their origins a bit more but we did get enough to start to understand them. Unfortunately, a sequel is doubtful even though two more films were planned before Fox was sold.
Overall, though, the movie is just okay. It feels more like a two-part pilot episode for a show that could be solid. It doesn’t feel like a film able to stand on its own though and the quality of it feels more like high budget television than something that is a part of the X-Men film universe. While that’s not necessarily a bad thing, the movie just looks noticeably cheaper and visually smaller than the series of films it is supposed to connect to.
However, this is all presented in a way where it could redirect itself and connect to the already well established Marvel Cinematic Universe. I highly doubt that will happen, though, as it wasn’t made by Disney and it has a much darker tone than their MCU films.
While it sucks that this didn’t come out in the final form it was intended to with the long-term plans kept intact, it’s still an interesting movie for the superhero genre. It’s vastly different than other films in the genre and it proves that you can dabble with other genres like horror and make it work.
I was really looking forward to the followups, as the plot outlines for the second and third chapters seemed really interesting and made way for much larger stories in scope. Plus, this film hints at the eventual appearance of Mister Sinister, who is long overdue in the X-Men film universe. However, that universe now belongs to another studio and will probably be completely rebooted to fit within their own plans going forward.
The New Mutants should have been an R-rated picture that upped the ante more than the finished product did but I guess we’ll never know what that was or could have been. Still, it’s worth a watch for those who liked the comic book series in the pre-Rob Liefeld era.
Pairs well with: the other Fox era X-Men films, as well as dark, coming of age superhero films like Brightburn and Chronicle.
Published: December 10th, 2014
Written by: Chris Claremont, Peter David
Art by: John Buscema, Gene Colan
Marvel Comics, 495 Pages
As big of a Wolverine fan as I am, I have never read his earliest solo stories that revolved around his time in Madripoor when he was going by the name of “Patch”. I knew enough about this era but nothing is ever as good as reading it for yourself.
I read this on Comixology after buying it pretty cheap during a Wolverine sale. Normally, it’s like $30 but I know I got it for less than $10 and it was well worth that price tag.
This is a beefy collection that covers the first 16 issues of his solo comic, as well as the story that came out just before it and another comic that takes place within the same time frame. It makes for one nice long epic of Logan’s life in Madripoor. I’m not sure if he sticks around there after this collection and for how long but this really gives you the important stuff from that era.
I also knew that Jessica Drew a.k.a. Spider-Woman was around for some of this but I didn’t realize that she wasn’t Spider-Woman here and that she was pretty much just herself, as a ninja badass. I also didn’t realize that she was actually a big part of the Wolverine Madripoor stuff.
We also get a cool plot that teams Wolverine up with the Gray Hulk a.k.a. Mr. Joe Fix-It for the first time. It’s a pretty cool tale and it also fits well within the larger tapestry that sees Logan trying to fight the criminal underworld in this fictitious Asian island nation.
Almost everything here is written by the great Chris Claremont, who probably knows Wolverine the best. Some of this is also written by Peter David but he’s a legend too and he knows how to write a story with great energy.
Ultimately, this wasn’t close to being my favorite Wolverine story, and it may actually be a bit underwhelming because of that, but it is still damn entertaining and really reflects a truly unique time in the character’s mythos.
Pairs well with: other Wolverine solo stories from the late ’80s into the early ’90s.
Written by: Scott Lobdell, Jeph Loeb, John Francis Moore, Mark Waid, Warren Ellis, Fabian Nicieza, Larry Hama, Howard Mackie, Terry Kavanagh
Art by: Roger Cruz, Terry Dodson, Steve Epting, Andy Kubert, Adam Kubert, Carlos Pacheco, Joe Madureira, Tony Daniel, Salvador Larroca, Chris Bachalo, Ken Lashley, Steve Skroce, Ian Churchill, Joe Bennett
Marvel Comics, 1462 Pages
I’ve really only heard great things about The Age of Apocalypse storyline since it started back in 1995, an era where I wasn’t really reading comics for awhile, except for Dark Horse’s Star Wars stuff.
In fact, the last major X-Men related event that I had read before this was X-Cutioner’s Song, a pretty good epic. But shortly after that, I got pretty burnt out once the top Marvel guys went off to form Image and then those comics were constantly hindered by delays and irregular schedules.
Based off of all the praise I heard, I always wanted to read this but it was such a massive story, spread over multiple collected volumes that I never really wanted to fork out the over $100 it would cost to buy the whole shebang. So, all these years later, I took advantage of a massive X-Men sale on Comixology and got the entire saga with its prelude for about $20.
Now that I’ve read it, I’m glad I only spent $20 because like Game of Thrones, all my friends and all the critics lied to me about how great this was. It’s not, it’s a clusterfuck of biblical proportions showcasing a lot of the things that were wrong with mid-’90s comic book art from the major publishers.
I’ll start with the art and just come out and say that this was mostly an eyesore to look at. The biggest reason was the colors, which relied so heavily on what I assume are digitally created gradients and overly vibrant colors that this was like staring into the asshole of a tropical fruit salad for hours. Everything is too busy, every single issue collected is made to be overly grandiose and if everything is larger than life and overly vivid, then that becomes the norm and thus, makes everything kind of boring.
Additionally, there is such a mix of different artistic styles that it becomes jarring as these collections jump from issue to issue every twenty pages or so. Some of the artists had great pencils but many of them illustrated in a style that didn’t feel like Marvel and instead felt like the artists were trying to emulate indie comics from Image and Valiant. Besides, the stuff that was illustrated well, ended up being wrecked by the primitive gradients and crazy colors that looked like a giallo film puked all over a box of Prismacolor markers.
When it comes to the narrative side of this, that’s also a mess.
This suffers from trying to be way more ambitious than it needed to be. The whole story is comprised of about seven or eight different subplots that are and aren’t intertwined. Some of them merge towards the end into the bigger story but some stuff just happens within this new timeline. But the story jumps around so much that it makes the whole thing hard to follow as a singular body of work. This is the same problem I have, right now, with all the new X-Men related titles that are tied to a bigger narrative but don’t feel connected as much as they should. But this is what happens when you have a half dozen different titles and different writers, all of whom want to explore different territory in their own way while being trapped within a common framework.
In fact, the only plot I actually enjoyed was the one that dealt with the characters that aren’t tied to the X-Men.
There was a two issue miniseries called X-Universe, which focused on what other Marvel characters were up to during this event. We check in on this timeline’s version of Gwen Stacy, some of the Avengers, Fantastic Four, Doctor Doom and a few others. I found this more interesting and it showed me that this alternate timeline could provide the right sort of environment for cool and refreshing takes on old characters.
While I should probably feel the same way about all the X-Men related characters and their stories, it is hard to focus on any of them because of how this jumps around so much. When I got to the non-X-Men characters, it felt like a nice break from the X-clusterfuck I was pushing myself through.
Ultimately, I was really disappointed in this. I kept powering through it because I was hoping that all these subplots and characters would unify into something coherent that clicked at the end but that didn’t happen. We eventually get to a resolution but it’s not all that satisfying.
On a side note (and spoiler alert): the way that Magneto kills Apocalypse is pretty f’n badass.
Pairs well with: other big X-Men crossovers of the ’80s through ’00s.
Written by: Chris Claremont, Peter David, Louise Simonson, Steve Englehart, Mark Gruenwald, Ann Nocenti
Art by: Marc Silvestri, Todd McFarlane, Bret Blevins, June Brigman, Kerry Gammill, Jon Bogdanove, Kieron Dwyer, Keith Pollard, John Romita Jr., Walt Simonson
Marvel Comics, 803 Pages
This was a story so big that it was collected into two massive volumes. But I figured I’d read both and give the whole thing a single review, as one body of work.
But that may have not been the best approach, as this crossover doesn’t really crossover in a way that makes one big story. This is more like an anthology of events that were going on in all the different X-books at the same time. And weirdly, this isn’t collected in chronological order but as separate stories without much overlap or characters meeting.
This big event also has some short stories focused on Hulk, Captain America, Daredevil, Black Widow and the Fantastic Four. In those tales, it shows what they’re up to during the events of what is happening in some of the X-books.
The Fall of the Mutants takes place between Mutant Massacre and Inferno. It is also the last of the ’80s X-Men crossovers that I hadn’t read in its entirety.
Out of all the tales here, I thought the X-Factor one was probably the best as it concludes the Apocalypse and Angel storyline, as it introduces Archangel for the first time. Also, the X-Factor arc showcases Cameron Hodge turning on the team, revealing his true agenda to set up what would eventually be the superb crossover event X-Tinction Agenda.
The New Mutants part was the weirdest but it also featured Hodge’s heel turn and kind of sets things in motion for X-Tinction Agenda and Inferno. This is also where the New Mutants dump Magneto as their teacher and return to the ways of Charles Xavier.
Ultimately, this was kind of a mess when read as one body of work. But it does do a proper job of bridging the gap from Mutant Massacre and the next two big events to follow.
Pairs well with: other major X-Men crossover events from the ’80s and ’90s.
Written by: Chris Claremont, Louise Simonson, Walter Simonson, Ann Nocenti
Art by: John Romita Jr., Walter Simonson, Sal Buscema
Marvel Comics, 319 Pages
Well, not all giant X-Men crossover events can be created equal.
This one started off with a bang though. Sadly, it withered away in the second half, as it crossed over into non-X-Men-related titles and became a narrative clusterfuck that slowed down the story’s momentum to a complete halt.
The main reason I wanted to read this was to have a bit of background context before jumping into the following big event The Fall of the Mutants. While I had never read either crossover in their entirety, I had read parts and I knew that the stories had a very close association.
The focal point of the story shows the Marauders invading the Morlocks’ sewer hideout where they murder the shit out of them. Only a few actually survive and that’s mostly due to the X-Men, X-Factor and the New Mutants involving themselves in the ordeal.
As this collection rolls on, the story spins off into issues of Thor, Daredevil and Power Pack. This is where the narrative starts to become a mess. And once we get to this point, a lot of the issues rehash some of the same shit, over and over.
What I was excited to see was Apocalypse show up and the actual breaking of Angel. I thought that he would actually be turned into Archangel in this story but I guess that happens just after, which was kind of disappointing, as I’ve never got to read that actual story. I assumed it would happen here once Angel had his wings destroyed and was nailed to the sewer wall with about half the story left.
There were a lot of deaths in this but none that really hold any weight or matter to the bigger picture.
But I guess this helped plant the seed for The Fall of the Mutants and the introduction of both Archangel and Mister Sinister.
Pairs well with: other big X-Men crossover events from the ’80s and ’90s.
Published: September 25th, 2019
Written by: Chris Claremont
Art by: Bill Sienkiewicz
Marvel Comics, 32 Pages
Being an old school fan of The New Mutants, this was a pretty cool one-shot that took my brain right down memory lane in the best way possible.
This re-teams the creative duo of Chris Claremont and Bill Sienkiewicz, who were the guys that gave us so many New Mutants stories from their original run.
The story here fits well with their work from thirty years ago. I’m not sure where this would fit, as I don’t remember the details from issue to issue but this is in that great period between the debut of Magik and her eventual (but not permanent) death in the Inferno mega crossover event. This certainly takes place well before Rob Liefeld came in and changed the direction of the title, evolving it into X-Force.
I’m assuming that this was made because The New Mutants are being relaunched in a few weeks on the heels of Jonathan Hickman’s pretty beloved House of X and Powers of X miniseries.
And while I look forward to the new New Mutants comic series, I’d rather just have more of this. I wish that this wasn’t a one-shot and could have been expanded into a miniseries. But the quality of this would have been difficult to pull off in multiple issues on a schedule.
Sienkiewicz’s art has never really fallen off. He’s not a guy that’s been phoning it in later in his career like some of the other greats have done. This is a stunning and beautiful book to look at. Additionally, I thought that Claremont penned a good story that was a throwback to his glory days writing multiple X-comics.
I don’t want to say too much regarding the plot, as I’d rather people pick this up but it mostly revolves around Warlock and Cypher and the fear that Warlock has about losing himself to his nature and hurting his friends.
Old school New Mutants fans will probably dig the shit out of this. I did. And as I said, I just wish there was more.
Pairs well with: the original New Mutants comic book run.
Written by: Scott Lobdell, Fabian Nicieza, Peter David
Art by: Brandon Peterson, Andy Kubert, Jae Lee, Greg Capullo
Marvel Comics, 336 Pages
This was one of my favorite big crossover events when I was really just getting deep into comics. This blew my middle school mind at the time and it had a lot of influence over my creative output in the comic book medium.
I was worried that revisiting this story would be a big disappointment. A lot of the stuff from this era that I reread now, usually lets me down, as my palate is more discriminatory than it was at thirteen years-old.
I’m happy to say that this was still pretty f’n solid!
In fact, I think it is slightly better than X-Tinction Agenda, which I used to place ahead of this one.
What I really liked about it, is that it features three of my absolute favorite villains: Apocalypse, Mister Sinister and Stryfe. They are all well balanced and they aren’t here to come together in an effort to finally take out the X-Men, X-Factor and X-Force (formerly the New Mutants). Each one of these baddies has their own purpose and agenda within the story and it all just comes together in a really cool way that even sees the X-Men have to turn to Apocalypse in order to stop Stryfe’s chaos.
This is the best big story to come after the epic Chris Claremont run on X-Men. But if I’m being honest and this certainly isn’t a dig at the legendary Claremont, whose work I love, X-Cutioner’s Song was really refreshing and it showed that new blood could liven things up. Granted, Peter David didn’t hang around too long, Scott Lobdell and Fabian Nicieza also moved on to other things, but this was a weirdly perfect storm considering all the changes happening on Marvel’s X-books following Claremont’s departure and many of the top creatives leaving for the newly formed Image Comics.
The art is also top notch, but Brandon Peterson, Andy Kubert, Jae Lee and Greg Capullo are all fantastic and three of those men have become somewhat legendary in their own right.
X-Cutioner’s Song is well crafted, well balanced and it should be a primer on how to write massive crossovers featuring dozens of characters all competing for their moment.
Pairs well with: previous big X-Men crossover events like X-Tinction Agenda, Muir Island Saga, Inferno and Fall of the Mutants.
Published: September 8th, 2010
Written by: Zeb Wells
Art by: Niko Henrichon, Diogenes Neves, Paul Davidson, Alvaro Lopez, David Lopez
Marvel Comics, 148 Pages
I wasn’t super big into the volume before this one. That could also be due to me not really liking the Legion character, who had a major presence in that book.
This volume finds its footing a bit more and I enjoyed both stories that were collected here.
I like this team, overall, and their dynamic. There are interesting twists to the story but the first half of this collection ties into a crossover event where some of the context is lost, due to this not featuring the parts of the story that weren’t specifically published as New Mutants issues. Also, this volume leads into the big Second Coming event.
Regardless of this being tied to and setting up other stories, I like the chemistry within the group and how the characters are written and how they’re evolving here. In fact, I assumed I’d give up after this volume but I think I’ll give the third one a read too.
I’m a big New Mutants fan and always have been. I just haven’t been very satisfied with their comics since the original run in the ’80s and early ’90s. Zeb Wells’ run seems to be carving out its place in the larger mythos though.
Plus, I dig the art.
All in all, not a bad book, better than most New Mutants collections after the original run and I’m at least interested in sticking with it beyond this chapter in the series.
Pairs well with: the volume before this story, as well as most New Mutants stories featuring some of the key original members.
Published: April 28th, 2010
Written by: Adam Kubert, Zeb Wells
Art by: Diogenes Neves, Cam Smith
Marvel Comics, 131 Pages
I’m an old school O.G. New Mutants fan. I’m also a bitch for nostalgia. So I often times pick up New Mutants titles whenever they have brief resurgences. And usually, I regret it after the fact.
Reading the first volume of this short lived New Mutants incarnation didn’t leave me with buyer’s remorse though. However, this also didn’t wow me in any way.
Some of the key members get back together to do a mission for Cyclops. Cannonball is put in charge of the team, which is fine but anytime Magik is put on the backburner, I tend to get fussy. She’s one of my all-time favorite Marvel characters and a big reason why I read New Mutants.
Sure, Magik still plays a part in this story but it feels pretty secondary.
This arc also brings Legion into the mix and he’s never been a character I’ve been that fond of.
While this was an entertaining read, there wasn’t much here to justify a return of this team. Although, this does setup the second volume and hopefully that gives this chapter in this two part saga more meaning. However, this still didn’t leaved me too enthused about continuing on.
Pairs well with: the follow to this story, as well as most New Mutants stories featuring some of the key original members.