X-Men: Days of Future Past
Go! Because Mutants are good people too.
Attempted genocide at its most fun.
Would you believe that the first of the current run of these X-Men films was released 14 years ago? Probably not, since it appears that Hugh Jackman has aged backwards since then, despite this being his seventh appearance as Wolverine in that time. Quite appropriate then that this X-Men film rolls back the years with the "oh let's just call it" subtitle Days of Future Past, which means we see the spandex-clad, mutant vigilantes in years of tomorrow's yesterday and other moments of afterwards from before - but we can see it all right now, in today's (or next week's) present. It's the magic of cinema in action. Ta-da! Part-Terminator, part-Back to the Future, happily all of Days of Future Past's time travel notes are played perfectly in tune (although hoverboards have, inaccurately, been left out).
But this film is not only about virtually inexplicable time-travel. It charts the X-Men (and X-Ladies) as they try to salvage the existence of their entire kind by sending Wolverine back to 1970-something to correct an event that would ultimately lead to the extinction of all mutants. Directed by Brian Singer (of the first two and most acclaimed X-Men Trilogy movies), the story is back to being dark and political, dealing with very real-worldly issues of prejudice and fear, with a subtle tongue pressed into the cheek. It plays out like a kind of lengthy anti-UKIP "if foreigners were mutants" advert, with tremendous special effects.
But this film is not only about virtually inexplicable time-travel. It charts the X-Men (and X-Ladies) as they try to salvage the existence of their entire kind by sending Wolverine back to 1970-something to correct an event that would ultimately lead to the extinction of all mutants. Directed by Brian Singer (of the first two and most acclaimed X-Men Trilogy movies), the story is back to being dark and political, dealing with very real-worldly issues of prejudice and fear, with a subtle tongue pressed into the cheek. It plays out like a kind of lengthy anti-UKIP "if foreigners were mutants" advert, with tremendous special effects.
On that note, these weird, hyper-evolved humans do some pretty funky things and at times the film is a mind-bending feast for the eyes; perfect for freaking young children out. At its peak, a scene featuring "Quicksilver" (who makes Usain Bolt look languid) takes hyper-slow-mo cinematography to breathtaking and grin-inducing new heights.
Crucial to all of the X-Men films (and to the detriment of, say, the Fantastic Four, The Fantastic Four: Rise of the Slilver Surfer, or anything else with Jessica Alba in it) is the quality of the actors underpinning those effects. With Patrick Stewart (Star Trek), Ian McKellan (Lord of the Rings), Michael Fassbender (12 Years a Slave), Jennifer Lawrence (Silver Linings Playbook), James McAvoy (Last King of Scotland), Nicholas Hoult (A Single Man) and Ellen Page (Inception) forming a fraction of the stardust gracing the screen, it becomes easier to justify the $200 million budget of the film. Even Tyrion Lannister (Peter Dinklage) from Game of Thrones pitches up to be the baddie. Without the convincing performances of these heavyweight actors, the film would be a mess of ridiculous nonsense. As it stands, it is a very interesting analysis of how different characters (albeit with superpowers) react to the threat of their own demise and the potential genocide of a super-race. Weighty stuff, sure, but also loads of fun! Not since Fern Gully (1992) (has widespread ethnic cleansing been so entertaining.
Crucial to all of the X-Men films (and to the detriment of, say, the Fantastic Four, The Fantastic Four: Rise of the Slilver Surfer, or anything else with Jessica Alba in it) is the quality of the actors underpinning those effects. With Patrick Stewart (Star Trek), Ian McKellan (Lord of the Rings), Michael Fassbender (12 Years a Slave), Jennifer Lawrence (Silver Linings Playbook), James McAvoy (Last King of Scotland), Nicholas Hoult (A Single Man) and Ellen Page (Inception) forming a fraction of the stardust gracing the screen, it becomes easier to justify the $200 million budget of the film. Even Tyrion Lannister (Peter Dinklage) from Game of Thrones pitches up to be the baddie. Without the convincing performances of these heavyweight actors, the film would be a mess of ridiculous nonsense. As it stands, it is a very interesting analysis of how different characters (albeit with superpowers) react to the threat of their own demise and the potential genocide of a super-race. Weighty stuff, sure, but also loads of fun! Not since Fern Gully (1992) (has widespread ethnic cleansing been so entertaining.
Blending the casts of X-past and X-present also suggests that this might be the last X-movie with Messrs Stewart and McKellan and dare I speculate, even the ageless Jackman. With Brian Singer back at the helm perhaps only briefly, Days of Future Past might be a tropical island of X-excellence in an oncoming X-expansive sea of X-mediocrity.
So go and have a magnificent two-and-a-bit X-hours with the best X-Men film in a decade.
So go and have a magnificent two-and-a-bit X-hours with the best X-Men film in a decade.
#xmen #marvel # daysoffuturepast #cinema #moviereview #filmreview #movies #films #godontgo