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When did prequels start functioning as apologies? At what point did a rebooted film franchise become shorthand for, “We’re sorry we put large rubber nipples on the Batsuit. We thought that was the only way we could sell more Happy Meals. Please enjoy this brand new, nipple-free version of Batman instead.”

That’s what the prequel has become: An elaborate, almost groveling act of appeasement. At least that’s the sense you get after watching “X-Men: First Class,” a film that works overtime to make you forget the abject stupidity of “X-Men: The Last Stand,” which is basically a fool’s mission considering that “The Last Stand’s” abject shittiness is indelibly etched into the minds of millions. Maybe we can forgive but none of us can ever forget that not only did TV’s Frasier Crane appear in an “X-Men” movie, but he did it while looking like a dour, pretentious Muppet. Still, “X-Men: First Class” tries its best to atone for the sins of Brett Ratner and, for the most part, it’s successful. Like “Thor,” “X-Men: First Class” provides a genuinely entertaining way to kill two hours.

As in every origin movie, “First Class” has an almost pathological desire to explain the history behind everyone and everything (apart from Professor X’s baldness. That little detail is left to you, the audience, to figure out). Starting off in the ’40s, we’re introduced to two very different mutants: Charles Xavier (James McAvoy), a smug, telepathic child of privilege, and Erik “Magneto” Lehnsherr (Michael Fassbender), a concentration-camp prisoner who is, in essence, a human magnet. Their paths eventually cross in the early ’60s when Sebastian Shaw (Kevin Bacon clearly having the time of his life), an evil, ageless mutant and former tormenter of Erik’s, takes advantage of Cuban Missile Crisis tensions in order to spark World War III. Realizing they can’t take Sebastian on alone, Charles and Erik enlist the help of other mutants in order to save the very same world that hates them to bits (oh, the irony).

Comic fans who might remember (and regret) Chris Claremont’s run on “X-Men” might get an eerie sense of deja vu while watching “X-Men: First Class.” Not just because the film utilizes many of the characters and settings he created for the comic, but because it really does feel like something that he would have written. In other words, “First Class” is filled with heavy-handed social commentary, wall-to-wall angst and characters who eschew conversations in favor of long-winded, one-sided monologues.

In fact, “First Class” is so much like an issue of Claremont’s “X-Men” that it’s a wonder the film is actually entertaining. But entertaining it is mostly because the storyline isn’t afraid to throw a couple of surprising curveballs (like the revelation that one of the mutants isn’t as sensitive as they seem) nor is it afraid to laugh at itself (Hey, how about that cameo?). The lead performances are strong, particularly McAvoy, whose Professor X starts out as a sleazy, sub-Austin Powers-style irritant and convincingly evolves into a caring, genuinely sympathetic figure. Fassbender also impresses with his layered, vulnerable approach to Magneto. Unfortunately, the same can’t be said for January Jones (who plays Emma Frost). Watching her try to move and talk is like watching a dog try to juggle. It’s unnatural and weird. How in the hell did this woman ever get a role on “Mad Men?” She has less range than a stove. Can’t we just exile her to the pages of Maxim and be done with her?

All in all, “X-Men: First Class” is good — but it’s not particularly special. Sure, it’s nice to see a superhero period piece and the references and in-jokes are always appreciated, but there’s a workmanlike approach to this film that’s a little underwhelming. Will you enjoy “X-Men: First Class?” Sure. Will you remember it a week from now? Probably not.

Rating: W W W