Yeah, I was pretty unclear on Apocalypse's powers too. For one thing, when he & the 4 Horsemen kept teleporting everywhere, was that one of his powers or was that Psylocke teleporting them? I thought it was Psylocke because the teleporting bubble had a kind of purple tint, which fits with the rest of her color scheme. But at the end, after his Horsemen have all abandoned him, turned against him, or died, Apocalypse tries to teleport away, so either the teleporting was part of his powers or he was able to absorb a bit of his Horsemen's powers somehow.
<<Storm didn't really make sense. At first, it seemed like she was allied with Apocalypse because she misinterpreted his motives. She thought he was trying to save the world, not kill everybody. But then, his agenda got pretty dark pretty fast, yet it took a long time for her to move against him. That would be fine except she's suddenly supposed to be one of the good guys now?

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They didn't mention it in the movie, but in the comics, when Apocalypse upgrades your power he also brainwashes you into following him.
The movie was not at all clear on that point. Now, I wouldn't have been particularly concerned about her motivations except for the fact that she was a bad guy in this one whereas she was a very prominent good guy in the other movies.
So...It looks like Nate Gray barely aged at all from 1983 to the future depicted in DOFP.
Is he that skunk-headed kid who got killed by a Sentinel in the opening prologue of
Days of Future Past, then became the first person that Wolverine saw at the school once he woke up in the altered 2023 at the end? Because, yeah, I thought I saw him in the background at the school in
Apocalypse too.
It just occurred to me that these movies are basically going over the same basic scenario over and over... Charles and Erik don't see eye to eye, but circumstances force them to work together. Erik causes some murderous destruction, and then they end up going their separate ways again because they still don't see eye to eye.
They don't do that every time. Magneto was a villain for the entirety of
X-Men and
X-Men: The Last Stand. But, yeah, it is getting a bit old. Like in the HISHE video below around the 2:38 mark. "Oh my gosh! We have been arguing about this for nearly 50 years!"
Considering how sympathetic Magneto has been in the new movies, I keep waiting for him to permanently turn good. After all, old future Magneto seems to regret all of the fighting they did in
Days of Future Past. If only he could have had a heart-to-heart talk with his past self the way that Professor Xavier did.
On the plus side, I liked making Mystique a teacher at the end of this movie. I was kinda expecting her to be revealed as one of the teachers in the altered future at the end of
Days of Future Past, but this is good enough for me.
I guess maybe my biggest problem with
Apocalypse is that it doesn't have any clear emotional through-lines to focus on. It doesn't seem to know what its own "A," "B," & "C" stories are. If they'd asked me, I probably would have made the stuff with the new cast--Jean Grey, Cyclops, Nightcrawler, & probably Jubilee--be the A-story. The B-story would have been Mystique going from rogue mutant liberator to leader of the X-Men. The C-story would have been developing Magneto & the other Horsemen. Then have the Xavier/Moira stuff and the Quicksilver stuff be minor D threads running throughout the movie.
I'm not saying that the movie needed to be longer or anything. I just think it needed a stronger sense of story priorities. It's ironic because most of the other
X-Men movies have done that pretty well. Sometimes that caused other problems in the films, such as overemphasizing Wolverine to the detriment of all other characters or killing off a lot of beloved
First Class characters offscreen just so that
Days of Future Past wouldn't seem so crowded. But having a strong sense of character-driven narrative structure was always one of the great strengths of this franchise before. Even when
The Last Stand greatly mishandled its story priorities, it at least committed to its choices.