Five feature-length action adventures based on the Marvel comic.

In 'X-Men' (2000), mutants Professor Charles Xavier (Patrick Stewart) and Magneto (Ian McKellen) are former friends, but look set to become mortal enemies when fascist US senator Robert Frank Kelly calls for the registration of all humans with abnormal powers. While telepath Xavier, who runs an altruistic academy for superhuman 'X-Men', wishes to enlighten non-mutants and break down the prejudices which divide them, Magneto believes that the only solution is for the mutants to take over. Wolverine (Hugh Jackman) - an aggressive loner with an admantium skeleton and the ability to heal his body of any wound - and teenager Rogue (Anna Paquin), who can absorb the life force of others simply by touching them, are selected by Xavier to join his academy, but it isn't long before Magneto's followers are attempting to capture them so that they can assist in his plan for world domination.

In the sequel, 'X-Men 2' (2003), Xavier, Wolverine and the X-Men find themselves in the firing line after a failed assassination attempt on the president points the finger at the school. It was in fact the mysterious teleporter Nightwalker (Alan Cumming) who ordered it, and, in an attempt to clear their names, the X-Men are led into a trap set by the evil William Stryker (Brian Cox), a mysterious scientist apparently working for the government. As it soon becomes evident that Stryker's agenda is to destroy all mutants, the X-Men need to call in the help of many of their old friends and foes, including Magneto, if they are to stop him.

In the third film, 'X-Men: The Last Stand' (2006), the mutants are given the option of giving up their powers and becoming human after a private laboratory supported by the government finds a way to use the DNA of a powerful boy to correct the mutants. However, Magneto opposes and decides to join a force to fight against the government and kill the mutant boy. Meanwhile, Jean Grey (Famke Janssen) resurrects, uncontrolled by Xavier, and with the personality of the powerful Dark Phoenix. She destroys Cyclops (James Marsden) and Xavier and allies herself to the evil forces of Magneto, making them almost invincible.

The fourth film in the franchise, 'X-Men: Origins - Wolverine' (2009) is a prequel to the other three films. Hugh Jackman reprises his role as Wolverine, who, some 20 years before the action of the original movie, is seeking revenge on his half-brother Victor Creed (Liev Schreiber) for the death of his girlfriend, and eventually signs up to the ominous Weapon X programme.

Finally, 'X-Men: First Class' (2011) charts the beginning of the saga, following Professor X (James McAvoy) and Magneto (Michael Fassbender) through their formative years in the 1960s as they come to terms with their newfound superpowers. Initially close friends who work together to fight against evil, the two men are driven apart by a conflict of opinion that ultimately leads to the eternal war between Magneto's Brotherhood and Professor X's X-Men.

Double bill of action films telling the story of the X-Men character Wolverine. In 'X-Men Origins: Wolverine' (2009), Hugh Jackman stars as the clawed mutant Wolverine formerly known as James Logan. The film, set in the years leading up to the action of 2003's 'X-Men', follows the young Logan from the first awakenings of his mutant powers in childhood up to his rebirth as Wolverine, and recounts his tumultuous relationship with his ferocious half-brother Victor Creed, aka Sabretooth (Liev Schreiber), and the events that led him to sign up to the ominous Weapon X programme. In 'The Wolverine' (2013), at a time following the events of 'X-Men 3' (2006), Logan finds himself vulnerable, alone and at his lowest point, after losing his intimate connections with the outside world. Drawn to modern-day Japan by the gratitude of a wealthy industrialist from his past who secretly covets his healing powers, Logan soon finds himself up against the deadly charms of a femme fatale known as 'The Viper' (Svetlana Khodchenkova), whilst having to confront samurai steel and lethal ninjas as his destiny draws him towards a winner-takes-all battle with his ultimate foe The Silver Samurai (Will Yun Lee).

When Frank Walsh, a hunter and collector of rare and exotic animals, bags a priceless white jaguar for a zoo, he figures it'll be smooth sailing to a big payday. But the ship bearing Frank's precious cargo has two predators caged in its hold: the cat, as well as a dangerous assassin being extradited to the U.S.

After the assassin breaks free - and then frees the jaguar - Frank feverishly stalks the ship's cramped corridors in hot pursuit of his prey, right up until the thrilling, unpredictable climax.

Yam Laranas directs this horror following an ex-con as he attempts to readjust to life on the outside. Bobby (Jesse Bradford) has just been released from prison having served the sentence he was given for murdering a man who tried to rape his girlfriend Alyssa (Amelia Warner). He returns to his mother's apartment in New York City, which has been vacant since her death. Bobby finds the apartment strange. He discovers drops of blood that appear to be fresh and hears continual arguments from the apartment next door, which suggest to him that a man is abusing his wife and daughter. When he finally snaps and calls the police things become even stranger: the apartment next door is vacant, the police tell him. Where, then, are the noises coming from?

Yam Laranas directs this horror following an ex-con as he attempts to readjust to life on the outside. Bobby (Jesse Bradford) has just been released from prison having served the sentence he was given for murdering a man who tried to rape his girlfriend Alyssa (Amelia Warner). He returns to his mother's apartment in New York City, which has been vacant since her death. Bobby finds the apartment strange. He discovers drops of blood that appear to be fresh and hears continual arguments from the apartment next door, which suggest to him that a man is abusing his wife and daughter. When he finally snaps and calls the police things become even stranger: the apartment next door is vacant, the police tell him. Where, then, are the noises coming from?

This book presents serious academic scholarship on ""Buffy the Vampire Slayer"". It differs from other works because it uses ""Buffy"" as a primary text and not as a secondary instrument to explore other concepts. In doing so, it demonstrates that popular culture studies should be approached with the same serious attention paid to classic philosophy and other long-established fields. Essays assemble the ""Buffy"" canon and explore how ""Buffy"" treats Shakespeare, comics, power, sisterhood, apocalyptic revisionism, folklore, feminism(s), redemption, patriarchy, identity and education.

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