THE need for family, the struggle to accept oneself, the challenge of letting go of the past: these have been the dominant themes of the “X-Men” franchise since the original 2000 film, but they’ve rarely resonated as deeply as they do in “X-Men: Apocalypse.” In the era of the supersized superhero movie, the standard objections apply — there are too many characters, and not always enough time to balance emotional nuance with the-world-hangs-in-the-balance stakes — but even when this sixth instalment stumbles under the weight of its own grandeur, director Bryan Singer invests the proceedings with real feeling, always anchoring the action in the exploits of his noble, flawed mutants.

    Taking place 10 years after the principal events of “Days of Future Past,” “Apocalypse” brings us to 1983 as the X-Men face a new threat in the form of Apocalypse (Isaac), an ancient, seemingly invincible god-like figure who wants to eradicate humanity and rule the planet, drawing on the powers of the mutants around him. Once again, the wise, kindly Professor Xavier (James McAvoy) must square off with his friend-turned-nemesis Magneto (Michael Fassbender) as they take sides in this battle. Magneto wants to help Apocalypse destroy the human race, whom he’s always despised for what they did to his parents in the concentration camps years ago.

    That plot description summarizes the narrative of “Apocalypse” narrative, but as with “Days of Future Past,” it doesn’t come close to enumerating the different characters on both sides of the conflict — not to mention the developing interpersonal dynamics between some of them. (For instance, you’ll need to remember what transpired in previous films between Nicholas Hoult’s Beast and Jennifer Lawrence’s Mystique, or between Xavier and Rose Byrne’s CIA operative Moira Mactaggert.) Finding room for a Wolverine cameo while also laying the groundwork for the future relationship between Scott Summers (Tye Sheridan) and Jean Grey (Sophie Turner), “Apocalypse” is chock-a-block with protagonists, and it’s a credit to Singer and screenwriter Simon Kinberg that they keep this potentially unwieldy story hurtling forward.

    Singer has directed four of the six “X-Men” films — he didn’t helm 2006’s “X-Men: The Last Stand” and 2011’s “X-Men: First Class,” generally thought to be the weakest instalments in the franchise — and from the start he has connected strongly with the characters’ feelings of being misfits and outsiders, their mutant powers making them extraordinary but also filling them with a sense that they’re abnormal. The fact that “Apocalypse” continues to explore this terrain can lead to rehashed character beats — in any “X-Men” movie, one mutant will inevitably assure another mutant that their mutation is what makes them special — and so a certain amount of thematic familiarity is unavoidable. And yet, Singer’s unwavering emphasis on his heroes’ scarred psyches and the ways they try to find solace remains poignant, infusing the spectacle with heart. We root for Xavier and his team to defeat the bad guys, but we also understand the internal motivations that are driving them, too.

    That said, “Apocalypse” works on such a broad canvas, arguably even grander than that of “Days of Future Past,” that the individual performances aren’t as potent as one might expect from such an impressive ensemble. Fassbender, who takes the role played by Ian McKellen in the original trilogy, continues to be the new series’ standout, playing Magneto as a profoundly sensitive man who has turned evil in reaction to the cruelty he has experienced. But Lawrence remains oddly muted as Mystique, a mutant we’re meant to recognize is a natural born leader, except that the Oscar-winning actress isn’t particularly compelling in the role.

    Despite those drawbacks, “Apocalypse” is still massively entertaining, the filmmakers not always able to perfectly execute their ambitions but always striving for a richer emotional tenor than is usually achieved in superhero movies. With top-notch effects and a driving, sweeping score from composer John Ottman, “Apocalypse” feels legitimately epic. The “X-Men” adventures keep getting bigger, but Singer works extremely hard to ensure that, even when they’re not always better, they continue to thrill sufficiently.

    The movie is now being screened in Shenzhen.

    (SD-Agencies)