Bryan Singer introduced a grounded, gritty take on mutants—and brought superheroes from a niche subgenre to the mainstream.
X-Men (2000) was one of the first movies I ever saw in a cinema. I was beyond excited to watch my favourite comic-book characters come to life. And remember—this was before Spider‑Man (2002), which usually gets the credit for sparking the superhero boom. Back then, seeing mutants on the big screen felt surreal.
What set X‑Men apart wasn’t just the studio or the star power of Patrick Stewart and Ian McKellen—it was the way it embraced the “weirdness” of superheroes. Yes, the black leather suits screamed The Matrix, and the story was surprisingly grounded for a film about mutants. But it still leaned into what made these characters unique. It was ahead of its time and laid the foundation for how comic-book movies would evolve in the 2000s.
Now, to celebrate the 25 years since the first release, here’s my ranking of all the X‑Men movies (besides the spinoffs—most of them just aren’t worth it):
7th – X‑Men: Dark Phoenix (2019)
This should have been the ultimate X‑Men story. The Dark Phoenix saga is iconic in the comics, and Fox’s second attempt at adapting it had all the ingredients to finally do it justice. Instead, it ended as a rushed, muddled farewell.
The production was a mess—reshoots delayed the film, Disney’s acquisition of Fox forced major rewrites, and the original villain arc (which involved the Skrulls) was dropped to avoid clashing with Captain Marvel. Jennifer Lawrence wanted less time in the full Mystique makeup, and her star power pushed the character into an awkward heroic role that the audience didn’t want.
The result? A movie that feels stitched together. Yes, there are flashes of greatness—young Jean flipping the car with her powers, Magneto crushing the train, and some solid cinematography—but the emotional weight of Jean’s transformation is lost.
Box Office: It grossed just US $252 million on a massive US $200 million budget, losing an estimated US $130+ million.
Critical Reception: Rotten Tomatoes gave it 22%, calling it a weak and anticlimactic ending to the Fox era. Even director Simon Kinberg later admitted it didn’t work.
6th – X‑Men: The Last Stand (2006)
Another Dark Phoenix adaptation—and another miss. After X2 set the bar high, Bryan Singer left to direct Superman Returns, leaving Brett Ratner to step in with a script that tried to juggle too much: Jean’s resurrection, the mutant cure, Rogue’s romance with Iceman, and Mystique’s disregard.
What we got was a chaotic, overstuffed sequel that glossed over major character beats. Xavier’s moral manipulation of Jean? Barely touched. The Phoenix is treated as a side plot, with the mutant cure taking centre stage. Fan-favourite characters like Mystique are literally tossed aside after minutes on screen. And don’t even get me started on the sloppy post-production errors that made it feel rushed.
The saving grace here is the cast. By this point, the audience was fully invested in them, and Stewart, McKellen, and Famke Janssen do what they can to bring weight to an otherwise shallow script.
Box Office: Despite mixed reviews, it made US $459 million globally on a US $210 million budget.
Critical Reception: Rotten Tomatoes sits at 58%, with critics calling it “entertaining but crowded and unfocused.”
5th – X‑Men: Apocalypse (2016)
On paper, Apocalypse should have been epic. En Sabah Nur is the most powerful mutant in the comics, a villain who demands an earth-shattering movie. What we got was… fine. Not terrible, not great—just a mid-level X‑Men film.
Oscar Isaac gave it everything he could under layers of prosthetics, but Apocalypse never felt as menacing as he should have. The film’s biggest strength is Magneto’s arc—his quiet family life shattered, leading to his tragic return to violence. The final battle is well-choreographed, Jean’s Phoenix tease is exciting, and seeing Apocalypse grow into a giant form was a cool visual payoff.
But overall, it’s bloated and lacking emotional stakes. So many characters are present but add nothing, making it feel like a missed opportunity to close the First Class trilogy in style.
Box Office: It earned around US $544 million on a US $178 million budget—not a flop, but underwhelming for an X‑Men tentpole.
Critical Reception: Rotten Tomatoes at 47%, with critics calling it “an overstuffed franchise entry with flashes of fun but little staying power.”
4th – X‑Men: First Class (2011)
Now we’re talking. After The Last Stand’s disaster, First Class breathed new life into the series with a soft reboot. Matthew Vaughn directed a stylish 1960s period piece that felt fresh but still true to the core X‑Men themes.
The highlight is seeing the friendship between Charles and Erik develop, knowing where it will eventually lead. Michael Fassbender’s Magneto is magnetic (no pun intended), and James McAvoy gives Xavier an endearing yet flawed charm. Raven/Mystique’s backstory is different but surprisingly effective, giving her more depth.
And let’s not forget Sebastian Shaw—Kevin Bacon nails one of the franchise’s most underrated villains. The Cold War setting gives the whole movie a unique edge, and the Cuban Missile Crisis finale is a perfect backdrop for mutant politics.
Box Office: It made US $353 million globally on a modest budget (~US $160 million).
Critical Reception: Rotten Tomatoes 86%—critics praised its fresh approach, strong performances, and period-style flair.
3rd – X‑Men (2000)
The original is still iconic. It was a game-changer in 2000—long before cinematic universes were the norm. It introduced the idea that a superhero film could be character-driven, thematic, and grounded while still delivering action.
It tackled prejudice and identity, gave us memorable performances (Ian McKellen’s Magneto is still one of the best comic-book villains ever), and made superheroes cool again after the campy Batman & Robin nearly killed the genre in the ’90s.
Box Office: US $296 million on a US $75 million budget—solid for its time.
Critical Reception: Rotten Tomatoes 82%, praised for smart storytelling and strong ensemble acting.
2nd – X‑Men: Days of Future Past (2014)
This is where the franchise went big. Days of Future Past pulled off the ultimate crossover—combining the original cast with the younger First Class actors in a time-travel storyline that actually made sense.
The future war against the Sentinels is brutal and visually stunning, while the 1970s segments have great political intrigue. It manages to juggle multiple characters without feeling overcrowded, and the stakes feel real. Logan is overused, sure, but he’s the emotional glue here.
The Rogue Cut makes it even better, adding depth and tying up side plots that were cut from the theatrical release. It’s one of the rare superhero movies that balances action, emotion, and clever storytelling.
Box Office: US $748 million worldwide—still the highest-grossing X‑Men film.
Critical Reception: Rotten Tomatoes 90%, with critics calling it “smart, fast-paced, and a perfect mix of new and old.”
1st – X2 (2003)
The peak of the Fox era. From the incredible White House opening with Nightcrawler (still one of the best superhero scenes ever) to Magneto’s prison break and the intense climax at Alkali Lake, X2 just nails it.
It dives deeper into mutant prejudice, government paranoia, and the moral grey areas of Xavier and Magneto’s philosophies. The script is tight, the pacing is perfect, and the ensemble cast is at their best. It’s darker, bolder, and smarter than the first movie without losing its heart.
Box Office: US $407 million worldwide on a US $125 million budget.
Critical Reception: Rotten Tomatoes 85%, widely regarded as one of the best superhero sequels ever made—up there with Spider‑Man 2 and The Dark Knight.
Final Thoughts
The X‑Men films are a rollercoaster—some highs, some major lows, but collectively, they shaped modern superhero cinema. They tackled heavy themes like discrimination and identity long before the MCU existed.
Now, with Marvel Studios owning the rights, the mutants will inevitably join the MCU. The big question is whether Disney can honour this legacy or just turn them into another cog in the Marvel machine. Here’s hoping they bring something epic.
POPFICTION 
Leave a comment