X-Men: First Class (2011)

Most people think so. 82% of audiences gave it a thumbs up, by Google's archived audience score. Critics agree, scoring it 76%.

Before Charles Xavier and Erik Lensherr took the names Professor X and Magneto, they were two young men discovering their powers for the first time. Before they were arch-enemies, they were closest of friends, working together with other mutants (some familiar, some new), to stop the greatest threat the world has ever known. Wikipedia ↗

X-Men: First Class is a 2011 American superhero film directed by Matthew Vaughn, a prequel set in 1962 during the Cuban Missile Crisis that reimagines the origins of the X-Men franchise. James McAvoy and Michael Fassbender star as the young Charles Xavier and Erik Lehnsherr, two powerful mutants who begin as close friends united by their shared experiences of discrimination but are gradually driven apart by fundamentally different philosophies about mutantkind's relationship with humanity. While Charles believes in peaceful coexistence, Erik — a Holocaust survivor who watched his mother murdered by the Nazi scientist Sebastian Shaw — believes mutants must dominate or be destroyed.

First Class revitalized the X-Men franchise after the poorly received X-Men: The Last Stand and X-Men Origins: Wolverine by returning to the series' core allegorical strength: the civil rights metaphor embodied by Xavier and Magneto's philosophical divide, explicitly modeled on Martin Luther King Jr. and Malcolm X. The 1960s Cold War setting gave the film a fresh visual identity — mod fashion, retro-futuristic technology, and geopolitical paranoia — while allowing the mutant metaphor to resonate against the era's real civil rights struggles. James McAvoy and Michael Fassbender brought intensity and genuine chemistry to the Xavier-Erik relationship, making their eventual falling-out feel tragic rather than predetermined.

Kevin Bacon's Sebastian Shaw provided a suave, genuinely threatening villain. The film earned $353 million worldwide and restored critical and audience confidence in the franchise.