At a certain point in X-Men: Apocalypse, the titular villain hijacks the brain of renowned telepath Professor X (James McAvoy) and uses it to control every nuclear missile operator on the planet. En Sabah Nur (Oscar Isaac) wants to destroy the world—or, rather, to cleanse it of the meddlesome humans who have dirtied and defiled it—and, to that end, has the military men fire their nukes into the sky.
An unknown punk band from the D.C. suburbs awakes to find their van in the middle of a cornfield. The driver, taking them across the country on a mildly unsuccessful tour, passed out at the wheel. Light on cash but heavy on moxie, two punks head to a skating rink to siphon gas so they can make their next gig—a lightly attended show at a restaurant that nets each member a few bucks.
You could argue that one of the first films ever made, the Lumières’ Arrival of a Train at La Ciotat, was shot from a first person perspective: that of an individual next to some tracks, watching the train come in. Indeed, the effect of the train bearing down on an individual was so shocking that audiences supposedly (read: apocryphally) leapt out of their seats in fear, running from the hall screaming like savages bewitched by a new technology.