'X-Men: First Class': How much should superhero films follow the comic book?

A few years ago, 20th Century Fox realized they needed a way to extend the cash-cow X-Men franchise into infinity and beyond, so they decided to create a new X-Men prequel. This prequel would focus on the relationship between two iconic X characters, tracing how they went from best friends to mortal enemies. Although based on comic book mythology, every aspect of this relationship was reinvented for the film: How the two characters met, their history of working together, the nature of their friendship, how they became nemeses, everything.

But this prequel would also need to introduce a new variety of mutant heroes and villains — action figures must be sold, spin-offs must be spun, attractive young actors need work. So the prequel would feature a cavalcade of characters plucked, apparently at random, from nearly half a century of collective X-Men history. Most of these characters had never even interacted in the comic books. Almost everything about them — motivation, age, general temperament, personal history — was altered to fit the resettled movie timeline. The average moviegoer wouldn’t notice any of this. The average comic book fan would be driven mad.

The prequel would feature a cute but somewhat nonsensical cameo from a major character from the original X trilogy. It would awkwardly plug its central characters into key historical events. And it would end with a completely invented sequence involving an uncannily well-placed bullet — a magical mythology bullet, considering how much that single gunshot would define the character’s future.

That prequel was, of course, 2009’s X-Men Origins: Wolverine, a critically derided movie that’s widely recognized in the fan community as a low point for the X franchise. (Despite the massive grosses, even the studio seems to realize Wolverine didn’t go over well; note how adamant Fox has been that the sequel, dubbed simply The Wolverine, will essentially stand apart from the original film.)

And yet, I also just described the just-released X-Men: First Class, the best-reviewed film in the franchise since the sanctified X2: X-Men United. So if these two movies are so similar on paper, what makes Wolverine a bad movie, and First Class a good one?

Comic book fans, by and large, tend to put a lot of value on adaptations that stay true to the comic books. This is understandable: If you have endured the 1990 Captain America (Red Skull = Italian?), or Shaquille O’Neal’s Steel (an unjustly overlooked possibility for the Worst Movie Ever Made Award), or the latter Christopher Reeve Superman movies, you can understand why fans would be naturally anxious about making any sweeping changes to their beloved characters. With the rising importance of the Comic-Con demographic, studios tend to stress their devotion to the original material — there’s a reason that practically every Marvel movie still makes room for a Stan Lee cameo, as if the mere presence of the iconic comic book creator could serve as a rubberstamp for “authenticity.” Call it Adaptation Anxiety.

And yet, in actuality, most of the best comic book adaptations decisively break from the source material. The original X-Men turned Rogue into a teenager, and X2 completely reinvented iconic villain William Stryker, from a fundamentalist preacher into a corrupt military scientist. Alfred Molina’s Doctor Octopus in Spider-Man 2 scarcely resembles his comic book namesake. That’s also true of one of the most iconic onscreen supervillains: Heath Ledger’s Joker. Essentially everything about Dark Knight‘s Joker — the Taliban-esque obsession with bombs, the Glasgow Smile, the complete lack of any origin story — was invented for the movie.

You could argue that Christopher Nolan’s interpretation of the Joker was thematically true to the comic books, if not objectively. And you’d be right. But that’s also true of all the Freudian stuff in Ang Lee’s Hulk, a film that radically reconfigured basically everything about the iconic green giant besides his tendency to get bigger when he gets angry. Comic book fans tend to hate on Hulk. But Marvel’s attempt to reboot the character with the vastly more comic-bookish The Incredible Hulk weirdly falls even flatter. (Likewise, the Garth Ennis-inflected Punisher: War Zone is markedly worse than the “In Miami, Why Not?” Thomas Jane version of The Punisher.)

I was a voracious comic book fan growing up. But I’m also a movie fan, and I tend to prefer films that daringly depart from the source material. The slavish Sin City and 300 adaptations have all the overbearing machismo of the Frank Miller source material with none of the quiet power. Watching them is like watching a motion comic, and good holy Lord, there is nothing worse in this life than watching a motion comic.

And the bigger problem with Adaptation Anxiety is that people tend to focus on the wrong issues. Zack Snyder spent years of his life assuring everyone that he was doing his level best to provide a note-perfect translation of Watchmen from the page to the screen. And indeed, the resulting movie looked incredible: It’s a beautiful love letter to Dave Gibbons’ original artwork. But the film completely bungled Laurie Jupiter: Such a chainsmoking force in the comic book, she became little more than a wan galpal, which turned Watchmen into even more of a dudes’ movie than it had to be. Watchmen looked perfect… but looks can be deceiving.

All of which brings us back to the X-Men prequel duet, to Wolverine‘s generally observed badness vs. First Class‘s generally observed goodness. I think it comes down, ultimately, to one major difference: First Class is a movie that happens to be about superheroes, while Wolverine is a “superhero movie.” By which I mean, First Class feels, for much of its running time, more like a spy thriller from the ’60s (or a Dirty Dozen-ish gang-of-hoodlums film) than an imitation of Spider-Man.

Nearly every great superhero movie picks a genre and sticks with it: The Dark Knight is a Michael Mann thriller with a couple of dudes wearing costumes; Hellboy II is a fantasy film; Spider-Man 2 and Iron Man both feel like screwball comedies occasionally interrupted by action sequences; and Superman Returns, which I will defend until my dying day, is basically The Passion of the Christ, except more realistic. Conversely, films like Ghost Rider, Daredevil, the first Spider-Man, The Incredible Hulk, the first Wolverine, and even Thor feel essentially very similar: An origin story, a love interest, an enemy with lots of henchmen, and a non-ending that serves as a tease for a potential sequel.

That’s my theory, but I’m interested to hear what you think, comic book fans. Do you think that superhero movies succeed depending on how much they adhere to the source material? Or would you prefer that filmmakers feel less strait-jacketed to the comic books? And what did you think of the specific changes made for X-Men: First Class? Seriously, what’s up with all the magic mythology bullets in these X prequels?

Follow Darren on Twitter: @EWDarrenFranich

Read more:
PopWatch Dictionary: ‘Preboot.’ (Example: ‘X-Men: First Class’)
‘X-Men’ movie round-up: Producer teases upcoming ‘Deadpool,’ ‘Wolverine,’ ‘X4,’ and ‘X5′ projects
‘X-Men: First Class': 10 Surprises

Comments (186 total) Add your comment
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  • Reed

    Hey I happened to like Sin City!

    That aside, I don’t care if they follow the comics exactly as long as they put the effort into making a good film. That’s what I loved about X-Men: First Class. They really gave emotional resonance to these characters. We understand Magneto’s desire for revenge for the tragedy early in the film. We feel for Mystique as she always feels the need to hide herself. Honestly I felt this elevated the original X-Men trilogy. I wasn’t sure of this this when I heard of it but honestly after seeing it, I believe this is my favorite, even surpassing X2 in my mind.

    Also January Jones is terrible. In some states she should be considered an inanimate object with such a wooden performance. I don’t watch Mad Men so I’m not sure if she’s that bad on the show. But in this and Unknown she was just terrible. I hope she doesn’t return if they made a sequel to first class (Likely).

    • Brett

      I wonder how Alice Eve, who was originally mentioned in connection with the role of Emma Frost, would have done in the role.

      • Trigg Palin

        Me likey Alice Eve boobies

      • irwan

        Adrianne Palicki (who did the Wonder Woman unaired tv pilot) should’ve done the role of Emma. she just EXUDES hotness. i always see January more as the Fantastic Four’s Susan Storm. Ms. Jones’s just got that more “mature” hotness quality that just don’t suit Emma. the same with another Emma candidate, Rosamund Pike.

      • tracy bluth

        She definitely couldn’t have been worse than January was.

      • tg

        I wonder what nerds would do if there weren’t articles like this to comment on? Honestly, I love comics too, but I’m just glad that movies about the characters get made and are hopefully entertaining. I haven’t seen this one yet, but plan to.

      • Ramury

        I follow the comics and I think Emma is all about the mature hotness.
        January did an OK job. I think her coldness fits the White Queens character.

      • Jenn

        Cold is fine. But January Jones looked like she was in a community theater production of X-Men. The lady CANNOT act.

    • CBC

      January Jones is TERRIBLE in Mad Men. She’s the most flat, stoic actress I’ve ever seen. Fortunately, her acting ability suits her character; Betty Draper being flat and stoic isn’t really a problem. I’m not surprised to hear that she’s just as awful in this.

      • anna

        Except she’s not terrible at all in mad men.

      • CBC

        No no…she is.

    • Mark

      Unless I missed it why is no one calling this idiot on referring to Spider-Man 2 as a screwball comedy interrupted by action? That could not be further from the truth. Name the last “screwball comedy” that felt as richly written as Spider-Man 2?

      Then again, you do defend the awful Superman Returns so that explains a lot.

      • me

        I think it was meant as a compliment

      • Sumpter

        I have to agree. I believe everyone is entitled to his/her opinion but how credible a comic book movie critic can you be when your score is Spider-Man 2: Dumb! Superman Returns: Great!?? Superman Returns was just a remix of Reeve’s first Superman movie, even with identical dialogue. It even broke a fundamental law of Superman lore: Even a small piece of kryptonite drains Superman’s powers, how can he lift a whole island of it??

      • Mac

        Comparisons to screwball comedies like It Happened One Night or The Philadelphia Story is good praise, or don’t you realize that?

      • Jason C.

        Sumpter: Did you even read the article, or are you incapable of linking thoughts within a text? The two times that Spider-Man 2 is mentioned are in paragraphs speaking of the great super-hero films. It’s speaking of how each comic book movie has a specific genre it’s trying to achieve, and in a lot of ways he’s right about Spider-Man 2. The moment he’s delivering pizzas and we see him in the elevator in his costume, that’s a screwball comedy moment. That whole scene of him trying to deliver pizzas as Spider-Man is screwball comedy. Screwball comedy is not a bad thing! The Philadelphia Story and Bringing Up Baby are considered screwball comedies and are also considered among the greatest movies ever made.

      • AK

        Even if it was meant as a compliment, it makes no sense. “Spider-Man 2″ is a dark, melancholic character study — where the character happens to have superpowers. “Spider-Man 3,” on the other hand, definitely reaches for that comedic aspect.

      • Jason C.

        There are a lot of screwball comedies that are dark and melancholic. Some Like it Hot is about two guys running from the mob after witnessing a murder, not typically light fair. Adam’s Rib is about a marriage in crisis as husband and wife lawyers represent a husband and wife in an attempted murder trial. Spider-Man 2 has the classic elements of a screwball comedy, not what we consider a modern screwball comedy.

      • JaxDad

        Darren Franich is posting as Jason C. There can be no other explanation for such a vehement defense of a stupid statement. Identifying Iron Man and Spiderman as “screwball comedies occasionally interrupted by action sequences” is such a dumb statement. While both do contain humor, that’s not at the heart of the flicks. Both have solid dramatic cores. Defending that position by saying the screwball comedy “Some Like It Hot” is dark and melancholic is done in the hopes that comic book/movie fans haven’t taken the time to see SLIH. It’s the equivalent of me saying “It’s A Mad, Mad, Mad, Mad World” is a dark morality tale of how greed destroys lives, relationships and in the end, everyone is hurt by it. No. That’s a ridiculous statement, just as the comparison to SLIH, screwball comedies and Superman Returns = Passion of the Christ. See? It’s definitely Darren.

      • thin

        Have to agree. A movie that has moments of comedy does not make it a screwball comedy. With that said, I do think that one could make a decent argument that Iron Man could be considered such. There’s just no way you can do that with Spider Man 2, though. You can’t put story arcs like the operatically-tragic Doctor Octopus or the darkly revenge-driven Harry Osborne as major pieces into a film and come up with a screwball comedy.

        Well, maybe you could, but they would have to be executed very differently than they are in the existing movie. The point is, they aren’t. They’re not played for laughs or even irony, and they’d need to be in a movie with its roots in screwball.

      • Jason C.

        I think the reference is that there are a lot of elements of screwball comedy in there, that’s really what starts off the film, the more slapstick screwball type comedy stuff. It shows us what Peter Parker has to go through to keep a job, make it to school, and fight crime. It’s possible that because of Sam Raimi’s background in horror/ screwball comedy the writer also had that on his brain. I don’t know if I would classify the comedic element of Iron Man as screwball though.



    • Anya

      Thank you! I enjoyed X-Men: First Class, but I enjoyed it a little less because she was so bad compared to the others onscreen.

    • jon

      Sorry darren, but Superman Returns was crap.

  • caljo

    I think that some changes are good and can be justified. Origin stories written in the 60’s or even in some cases the 40’s need to be updated. It even works for me when multiple comic storylines are condensed into one story, but to just randomly change characters for no reason is ridiculous and iritating. The X-men were a major part of my adolesence and the best selling comic of the 70’s 80’s and early 90’s they were popular for a reason. They were well written. There is no reason to change Jean Grey’s or Iceman’s age. There is no reason to put Mystyque in Xaviers mansion as a child. Her original origin is much more interesting.

  • Momo

    i remember months ago, fanboys clawing (no pun intended) at First Class, when their darling Dark Knight was just as devious from the comics.

    • JBD

      I’ve read a lot of X-Men comics and I loved X-Men: First Class. The difference between this and Wolverine is the story. First class had better storytellling and we connected with characters while Wolverine just threw too many characters at us.

    • Anthony

      While I believed First Class to be a very good movie, the only thing that bothered me was Magneto’s and Xavier’s friendship. To me, it seem very short lived, any prospects of sequels has killed off what to me was always the most interesting relationship of the series.

      • Monique

        Yeah. I really liked First Class, but I have to agree. It seems this film made their friendship to last only a few short weeks.

      • homer

        You know I thought about that too wasn’t there a part in X1 where Charles tells Logan that Magneto helped him build Cerebro? They might have to find another project to work on. I found Darren’s article to be a well thought out piece of prose. Sure you’re not going to agree with everybody on everything,for God’s sakes we’re not in the tea party but I really enjoyed X-First Class,alot. To me, of course liberties can be taken, they almost have to be as long as you don’t mess with or distort a person’s basic character or nature. I hardly heard anyone complain about Peter Parker’s naturally flowing webbing in fact I wondered,God forbid, if Stan Lee wishes he had written it that way,I got tired of Peter always running out and having to concoct something out of Silly String. Oh and by the way I thought Kevin Bacon walked away with the movie,he stole almost every scene he was in starting with his psychotic laughing while men’s heads were being crushed,he was great.

      • thin

        They can be allies without being friends. This is a trope used frequently in the books, so there’s no reason they couldn’t do the same in future movies if they chose to explore that.

      • Jason C.

        Anthony: Their differences are philosophical, they started a friendship that was based on mutual admiration and likenesses, and they’ll pair off against each other, but there’s still a sense that if need be they can collaborate for mutual needs.

        Homer: I think it’s possible that what he meant about Cerebro could be more metaphorical in the fact that Magneto does help establish the rules for how Cerebro is used meaning he helps to create how Cerebro is being used. Also, there is no Cerebro at the school yet, and it is still possible that they may be forced to work together again and have to build Cerebro at the school to recruit more mutants to defend themselves.

  • BrandonK

    “good holy Lord, there is nothing worse in this life than watching a motion comic.” TRUTH.

    • irwan

      so TRUE. and i’m a comic book fan.

      • JBD

        Yep, agreed. Motion comics make me cringe.

    • therealeverton

      I like them. Black Panther and Buffy season 8 are very good. Thor / Loki Blood Brothers is a classic.

  • mary

    i think that they’re two different mediums. i think people make such a big deal about it because comic book fans can be so avid! 90% of movies adapted from books change things (my sister’s keeper basically changed the whole POINT of the story). also, the thing about comics, is there are always like 50 different stories than converge and deviate- characters don’t even stay consistent in the comics. why shouldn’t movies differ? if you’re a hardcore comic book fan that doesn’t like changes, it’s simple- don’t watch the movie.
    also, movies provide a much larger audience, and often drop the more complicated ideas of comics to engage a new audience.

    • Dash

      This was always my feeling as well. I feel like comics frequently rewrite pasts to suit the current story. I see no problem in the deviations. My brother is not a comic fan but he loves the X-Men series. Is it really a big deal? Not to me, not to him. I’m sure the purists out there would argue that you need to read the comics to appreciate the movies but I like that he is seeing the story through fresh eyes. It’s always interesting to watch him try to figure out where things are going because he doesn’t know the characters.

    • thin

      I agree completely. Adapting comics isn’t like adapting a novel, because the comic writers themselves so frequently rewrite the histories of the characters in their books. It’s hard to get worked up about changes to the X-Men universe when there are a half-dozen different versions of it that exist already.

  • Emily

    Oh, that pesky mysterious bullet! While I really quite liked First Class and was moved by the scene, I found it to be a very bold choice and the disparity of plot bothered me. Even if you discount Wolverine so (spoiler alert) seeing an older Prof. X walking around “didn’t really happen,” it seemed like an overzealous move by Marvel that they might find limiting in the future… but I guess in an initial origin movie where you’re spoonful BOTH Jackman and Romijn for no truly apparent reason, that shouldn’t be surprising and I get the sense that it was thrown into the end of the third act for the sake of super drama and beyond that like wasn’t discussed in “future terms” the way it probably should have been. At least First Class was entertaining, for me at least – I liked Wolverine for what it was I guess but X3 made my soul cry.

    Generally more on the article’s topic, I definitely agree with Darren (as I often do – love D.F.!) that sometimes a departure from source material can be compelling for audiences and creatively beneficial, but speaking as a viewer who tends to be fairly detail-oriented, it also needs to be an unwavering commitment.

    (Also – didn’t notice the ever-present ridiculous Lee cameo this time. Thank God Marvel didn’t parade him around as Hitler in the beginning.)

    • e4ia

      (SPOILER) To add to dicounting Prof. X walking in Wolverine, it also totally ignors Prof X. and Magneto still being friends (and Prof X still walking) in the 1980’s flashback visit to a young Jean in X-Men 3.

      • Jason C.

        Can you blame them for not holding true to those horrible movies?

    • therealeverton

      It’s nothing to do with MArvel, this is a Fox movie with characters licensed from Marvel.

      • Jason C.

        That doesn’t mean that the producers don’t consult with Marvel. Lauren Shuler Donner who’s been a producer on each X-Men film has been adamant about working with Marvel in an effort to try to do it well. They’ve failed at times, but Marvel has been kept in the loop and creative members of Marvel have been brought in to consult.

      • Emily

        True. Marvel is selling off their rights left and right but whether it’s the movies or the theme park rides, they’re still creatively involved. And even if I WERE wrong, then simply replace “Marvel” with “Fox” because sir, might I humbly say that you are nitpicking at the wrong things. Either one should have some creative integrity.

      • Jason C.

        Everyone knows that Fox doesn’t have creative integrity, you have to have a name like Bryan Singer or James Cameron at Fox for them to leave your production alone. Marvel’s also no longer selling their movie rights anymore now that they have their own studio. Unfortunately the contracts keep the rights that have been sold from reverting back as long as other studios keep making movies based on the titles.

        The use of Marvel as a creative consultant and Marvel actually owning and producing their titles is a very big distinction though. As consultant they don’t have to be listened to, which would explain crapfests like Wolverine and Last Stand. All of the movies they’ve cranked out under Marvel Studios though have been critically good at the least.

      • therealeverton

        I’m not nitpicking, if I was I’d have made a big deal it’s just a correction, hence Fox not Marvel. Creative consulting means you can’t take characters and make them something heinous that Marvel wouldn’t approve of, like Prof X eating babies or something, MArvel don’t write the movies, choose the directors or cast etc.

        Thank you Jason C for understanding the difference and what I was talkingh about

  • RB

    I wish Thor had spent more time on Earth and less in Asgard, but I still thought it a fun movie worth seeing and I will be buying the DVD when it comes out. I don’t mind a certain amount of changes from the comic books. The comics themselves tend to change their stories over time too and vary their characters (alternate Earths, anyone?). That all said, I really wanted the prequel of the X-Men to feature the real original X-Men, not so many of the later X-Men characters. I may buy the DVD when it comes out, but I find I am not interested in seeing the X-Men prequel in the theatres. Just too many radical changes from the original storyline.

    • Pro-Lif3

      I think it is odd that you won’t spend $7 to see a movie, but will pay twice as much to own it on dvd.

      • Dante

        Well, for $14 to own the DVD you can watch it as many times as you like, and on top of that they are often loaded with special features and extras these days so they are susually quite a good deal.

        I still like seeing movies i’m interesested in on the big screen tho, something about the experience that you just can’t beat.

  • Claron

    I loved the comic books, but they never picked a genre and stuck to it very long. In fact I loved that Professor X dated an alien, Cable traveled through time, Colossus’ sister did magic, and somewhere deep in the antarctic there are dinosaurs!! Basically every sci-fi and fantasy trope you can think of shows up in “The Uncanny X-Men” and thats just one title. I will basically watch any comic inspired movie and if they deviate from the comic or not it mattereth not as long as they make a fun film who gives a crap. If they change it up and you don’t like just wait five years and someone will redo it. They are bound to do right eventually.

  • mike vee

    I’m under the impression that even though comic book creators Shuster Siegel, Lee, Kane etc were passionate about their work, they thought little of the long term. Every month another comic would go into the trash can. Re-reading early comics is often a shallow experience – the writing was not that good. The origin story is often re-introduced to the next generation of readers, sometimes with a new twist. Over the decades new events and characters become part of their expanding universe. I’m okay with the revisionist storytelling.

  • Brett

    I would dismiss “Superman Returns” for the same reasons you dismiss “Watchmen.” It was a slavish love letter to Richard Donner’s films and Christopher Reeve’s performance that looked pretty but which was soulless and emotionless, and the heavy-handed Christ allegory fell like a loud thud every time it reared its head. Additionally, DC, in ‘The Killing Joke,” made it clear that the Joker’s origin was not necessarily set in stone; his famous line of “If I’m going to have a past, I prefer it to be multiple choice!” resonated with me as demonstrating that Batman’s greatest adversary did not need to have an origin, he simply needed to be.

  • Diego

    x men has different version in the comics and it would be hard to follow the right way. However if done right and make it at least stay true to main characters its all good. like First Class did. Which has new mutants but old one like Emma Frost and Sebastian Shaw and their group

  • krayezeman

    Fanboys biggest beef with X-Men:First Class initially was that the character combination made absolutely no sense considering the comic book history. But fanboys(like me) will ALWAYS forgive so long as there is a good story put on screen which is what im hearing about First Class. That seems to be the golden rule for ANY movie so to analyze whether a movie is good or bad because of not following the source material is irrelevant. We fanboys prefer that you do but if you go outside that box(mr. screenwiter, mr. director) you better do the movie RIGHT!

    • Melissa

      I agree. When I first heard about the movie, my fangirl instincts were screaming nooooooo! But now I’m definitely willing to give it a chance. I just need to stick what I know about the comics out of my head and enjoy the movie for what it is.

  • Matt

    I to thought Superman Returns was a good movie! And I don’t understand why it gets crushed! Anyways, I’ve been struggling with the idea of X-Men First Class, and I think Darren nailed it. It’s the mixing of characters who have no business of being together. And the Hellfire club? They were a big part of the X-men in the 80’s, to pigeonhole them into the 60’s? Ang Lee’s Hulk was bad. The latest Hulk wasn’t bad, but maybe Hulk won’t transfer as well to film. Loved The Watchmen, but maybe I was distracted by how it looked? The Dark Knight? Wow! Good transition film to…well, the Dark Knight. I think Superhero movies are, by their nature, going to be hit and miss from the eye of the “comic-con” crowd. However, ultimately, I don’t believe the studio’s are too concerned about them. Because at the end of the day, the studio’s know, KNOW they’ll go regardless. The studio’s are making the movies for the masses… They can’t make money just from the Comic fans. Just my .02¢

    • Trigg Palin

      Gay men looooove Superman Returns

      • irwan

        true dat!

  • doomsday

    “Superman Returns is like Passion of the Christ, only more realistic” -Maybe the absolute dumbest thing I’ve read on the net in awhile… please bludgeon yourself to death with a blunt object.

    • Woody Allen

      Are you saying Lex Luthor isn’t Jewish?

    • Mel Brooks

      Thanks, anti-semite

    • irwan

      comparing the two movies is INDEED dumb as heck. but, wait, is The Passion of the Christ considered to be a GREAT film??? it was definitely a daring one, a very well made one…yeah, but to call it a great film is VERY arguable.
      on the other hand, Superman Returns is just pretty much a STUPID movie that shouldn’t have been made in the first place.
      the movie doesn’t ADD anything useful to the superman movie universe, other than the UNWANTED super KID character. and it fails IN EVERY LEVEL in resurrecting the Reeve-Kidder’s classic superman-lois on-screen romance. it’s a WANNABE movie, at best.
      ps: what’s with all the jew-related comments here…? i don’t get it.

    • Skip182

      actually he’s right.

  • thisguy

    I feel any movie based on anything should stick to the source material… Or at the very least, they can change minor things but still tell the same story overall. I remember when I heard about the Resident Evil movies I was ecstatic. But the whole alice thing sent me into a deep depression… And when I watched it it was 10x worse… They were great movies but they were about as RE as a Tupac CD…

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