The X-Men films have made an explicit connection between the mutants’ powers and pubescent self-discovery, but perhaps it’s necessary to address the last few movies’ psychosexual subtext. The Xavier-Magneto conflict, ostensibly ideological, basically comes down to worries about inadequacy and masculine ego. Magneto, virile, has fathered more children than he even knows about in the Apocalypse timeline; he wears a purple helmet that is—let’s face it— kind of phallic, and his signature move is to rise slowly into the air. Xavier—first seen as an adult in First Class trying to pick up a woman in a bar—is impotent, at least metaphorically, and will eventually see all of his luxuriant hair fall out. He fills his mansion with surrogate children. He is also a voyeur, using his supercomputer Cerebro to peer around the globe. (The good professor does all this out of a wheelchair, for maximum Rear Window effect.)

These two men compete by reproducing—both literally and figuratively, as with so much in the movie—and by trying to win over a figure of all things feminine straight out of the dank recesses of the misogynist imagination: an unpredictable, ageless shape-shifter named Mystique (Jennifer Lawrence). Occasionally, they cross paths with the ideal of pure, hirsute manhood that is Hugh Jackman’s Wolverine. Here, they are confronted with the threat of ICBMs being launched by the United States and the USSR, and with Apocalypse, who reproduces asexually, moving his consciousness into a new body when necessary. Apocalypse also happens to be a Fagin figure, shuffling around the back alleys of Cairo, where he makes the weather-controlling pickpocket Storm (Alexandra Shipp) his first follower by offering her baubles. Just to make it clear what Singer and his team are going for, John Ottman’s opening credits march is arranged to sound exactly like the theme music from Tobe Hooper’s 1985 space-sex-vampire flick Lifeforce.

That's from the AV Club's review. Additionally, Xavier and Erik's relationship pretty much ooze with homoeroticism, which is rather apparent with each passing film that focuses on their younger counterparts played by Fassbender and McAvoy.