Release: Friday, May 23, 2014
If Bryan Singer’s latest addition to the X-Men chronicle is any indication of the summer of movies that awaits us, by the shortness of Peter Dinklage we are in for a good one!
In fact the cinematic event that Singer has recently finished polishing off is one so grandiose it might very well make the controversy that arose prior to its worldwide debut a day simply of the past. With any luck, the quality of this much-anticipated material will be enough to satisfy most blockbuster moviegoers’ palate in the coming weeks.
The last time we hung out with any mutants, it was starting to become a one-sided affair, and Logan, a.k.a. ‘the Wolverine’ seemed to be receiving more than his fair share of the spotlight. Even though at this point it’s been all but pre-determined by the studio that Hugh Jackman’s gorgeously CGI-ed biceps is what we need the most, we are inclined to agree. His understanding of the character, and his command of it has been a thrill to watch; his pain consistently strikes at the heart of the struggle of the X-Men. And despite getting to spend that much more time with his charismatic manimal in The Wolverine and X-Men Origins — it’s not really his fault his character seems to be the most compelling of those who possess the magical DNA — these considerably lackadaisical entries contributed greatly to the sense that the series itself was a dying breed. Even despite Jackman and a wealth of material still yet to be tapped.
It’s fine, though. A few steps may have been taken backward but it’s with great relief to announce that what this summer has in store for fans is something that takes leaps and bounds beyond anything that has come before it. Simultaneously a compelling merger of the mutants in their younger and older forms, and an action-packed adventure/fantasy in its own right, X-Men: Days of Future Past is thrillingly paced, hilarious and keenly self-aware; intelligent on a level the series has been clawing at but failing to breach thus far. To be fair, few films with stakes this high can afford to be all these things at once without sacrificing something.
Given the final product on display here, it’s unclear what Singer or screenwriter Simon Kinberg have had to sacrifice. We join up with the few surviving mutants who are now hunkering down in the side of a mountain as the world around them continues to deteriorate. A government-sanctioned program has spawned a third race of beings on the planet: sentient robots built with the sole purpose of targeting those with mutated gene pools. These are the creation of the sinister Dr. Bolivar Trask (Dinklage) and they are horrifyingly efficient at what they do.
The crisis has reached a point where reconciliation is all but impossible for either party, and it’s even begun to sap Professor X (Patrick Stewart)’s optimism for a future of any kind. Fortunately he’s still got one more trick up his sleeve, and that is in Kitty Pryde (Ellen Page)’s ability to project present consciousnesses of fellow mutants back in time into beings that existed back then. One snag: the critical time period we must go back to is 1973 — fifty years removed from the present, and this eliminates all mutants but Wolverine, as they won’t be able to physically or psychologically survive such a sojourn.
Wolverine’s task is to track down certain mutants in 1973. Yes, this will indeed involve the unenviable challenge of intervening during a period where a young and besotted Charles (James McAvoy) is having a bit of a spat with the similarly naive Erik Lensherr, a.k.a. Magneto (Michael Fassbender). He must organize everyone in an effort to prevent a renegade Mystique/Raven (Jennifer Lawrence) from her inevitable date with destiny, as the blue-skinned beauty has taken it upon herself to even the score with Bolivar, whom she seeks for his inexorable experimentation on her mutant friends.
There’s no room for error on her part, and ditto that for Wolverine, only with exponentially less room. Not only is he battling the conditions of the time period he’s reinserted himself into, he’s having to convince those around him that there’s a bigger picture they all must pay attention to; and this isn’t even to mention that his journeying into the past has a perpetual impact on his physical and mental tenacity. This is assuming nothing goes wrong on the other end, as well.
Days of Future Past stockpiles the thrills as its labyrinthian plot unfolds piecewise. Its similarly expansive cast is on fine form and at this point in the game its more than a little difficult to separate actor from character. Familiarity typically breeds contempt, but here it breeds a hell of a lot of fun. Comparisons to The Matrix and Marvel’s The Avengers aren’t unreasonable — the teleportation of Wolverine seems to mimic the connection between realities found in the former, whereas both scope and visual grandeur make the comparison to the latter all but inevitable.
Comparisons run amok with Bryan Singer’s new X-Men installment, but it’s as well a thoroughly well-made product on its own merits. It looks sleek and best of all, it doesn’t feel even one second over 90 minutes. The film is actually over two hours in length, and even has time to factor in an exquisitely rendered and considerably extensive slow-motion sequence, without ever feeling like it’s wasting ours. Now that is effective storytelling.
Recommendation: Was it worth the wait? You bet your mutant ass it was. Days of Future Past may stack up to be one of the most heavily anticipated films of the year, and the final product is well-equipped to handle the challenge of living up to lofty expectations — expectations made so by frequent and repeated failure to get things right before. It deftly handles a dense amount of material by seamlessly connecting stories together, with a focus on the shadow games played by Mystique and Wolverine. Enthralling to newcomers and rooted firmly in the ethos of the comic, 2014 may well have brought us the definitive X-Men movie.
Running Time: 131 mins.
Quoted: “Maybe you should have fought harder for them.”
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