Only on the precipice of summer 2011 could we have a box office comprised almost exclusively of sequels, with exception Bridesmaids sinking to fifth as X-Men: First Class takes control of first in the top box office, grossing an estimated $56 million between Friday and today. Everyone from the box office of last week simply moved down one spot routinely, blankly. However, the latest installment in the X-Men franchise has been more than welcomed with kindness since its opening, receiving a remarkable 8.3 rating by IMDb users, and the majority of reviews tend to lean towards a kind perspective.  

Indeed, director Matthew Vaughn’s deal for X-Men: First Class was secured after the release of 2010’s Kick Ass, which marked an entirely new exploration into the potential of the comic book genre and only performed with a miserable estimate of $19.8 million because marketing misplaced the target audience. From one comic book film to the next, it doesn’t take mutant powers to see that Vaughn has a knack for the genre, considering the performance of First Class without the main character of the last four films in the series—Wolverine.

Wolverine was the character that we followed most intimately throughout the four previous films, because of his long and complicated past. In the first film, he is the protagonist which allows the audience to be introduced to the world of X-Men, and now we are familiar with these characters and have had his entire past explained to every last intricate detail, we can move on. With so much emphasis on one character, an X-Men film without Wolverine is quite a breath of fresh air.

The range of characters that exists in the X-Men world Stan Lee so ingeniously created is massive, so the films could literally choose from hundreds of possible stories. The writers were smart to acknowledge that the next past to be revealed should be the antagonist’s relationship with the leader of the first three films, particularly because Magneto has such an intense form of idealistic concerns and would make for an interesting evolution to observe. Unfortunately, with the lowest opening weekend (with adjustment for ticket inflation) of the entire series, perhaps audiences are finally beginning to reject the countless sequels and reboots—of which many more are in store for us. Many complain that X-Men: First Class actually should have been a reboot, which is absurd. Reboots releasing so quickly after the conclusion of a series is so obviously theft of our money that it’s disturbing how many actually clamor for them. Let us see how audiences accept the supposed Untitled Batman Reboot currently scheduled for 2015, after the miraculous success of Batman Begins and The Dark Knight. It’s almost a suspense story…Can studios keep drawing us in for the same story again? And again?

Although Judy Moody and the Not So Bummer Summer is opening next weekend, I’m certain that J. J. Abrams’ latest, and intensely followed Super 8 will debut with phenomenal numbers on tops, particularly because of the success of nearly everything Abrams has already done—including Cloverfield, Star Trek, and of course Lost. With Super 8, he finally goes Spielberg all the way, and will flick away with ease the sequels and prequels.