X-MEN: DAYS OF FUTURE PAST (9 OF 10) – Directed by Bryan Singer; written by Simon Kinberg; starring Ian McKellan, Patrick Stewart, Hugh Jackman, Jennifer Lawrence, Michael Fassbender, James McAvoy, Peter Dinklage. Rated PG-13 for sequences of intense sci-fi violence and action, some suggestive material, nudity and language. In wide release; running time: 131 minutes.
Director Bryan Singer returns to the world of the X-Men, bridging the gap between the last film in the franchise he directed, “X2: X-Men United,” and Matthew Vaughan’s stunning foray into the universe with “X-Men: First Class.” The film follows dual timelines, starting in a grim, far future where Sentinels have been wiping out mutants in genocidal numbers. The second timeline enters the equation when the remaining X-Men pool their resources to send Wolverine’s consciousness back into his body in 1973 in an attempt to change history and prevent their future from ever happening.
Bryan Singer exhibits more growth as a filmmaker with this outing than in any of his previous films, learning to bring more fun and levity to a film than he’s ever before brought to bear. In fact, his handling of Quicksilver (played by Evan Peters) is so good that one wonders why he hasn’t tried injecting more humor into his work faster. In fact, it’s Quicksilver who manages to steal every scene he’s in and is the centerpiece of one of the films best sequences, highlighting both his personality and his powers set to Jim Croce’s iconic song “Time in a Bottle.” For people wondering which version of Quicksilver they’d like better, Singer’s or Joss Whedons (in “The Avengers: Age of Ultron”), Singer certainly made that decision a lot harder.
The film handles the competing timelines in very smart ways, building a logic to the time traveling that remains consistent throughout, not pulling the rug from the audience for convenience.
While the film doesn’t reach the levels of sophistication of script the “X-Men: First Class” did, Singer builds an incredibly satisfying, action-packed experience with both generations of the best actors from the X-Men franchise. His action sequences highlight the team dynamics of the X-Men, while showing us uses of their powers that are best illustrated in film. In fact, the use of powers and their display in the film was enough to illicit tears of joy from me. From Iceman’s ice-flying to Blink’s use of portals, it was all pitched perfectly.
And to see them all fighting Sentinels? It was beautiful.
Perhaps my favorite scene in the film, though, doesn’t involve the use of powers, which is a testament to the quality of performance in the film. There’s a scene in the first third or so where Charles Xavier and Magneto meet for the first time since the events of “X-Men: First Class” and Michael Fassbender as Magneto gives a rousing monologue that actually conjures the depths of Ian McKellan’s performance. I was reminded of a similar moment between McKellan’s Gandalf and Ian Holm’s Bilbo Baggins in Lord of the Rings: The Fellowship of the Ring. You’ll know it when you see it, and it’s magical.
The coup de grace for this film, though, is how it manages to completely overwrite the events of Brett Ratner’s abysmal “X-Men: The Last Stand.” Every idiotic thing from that film has been undone, and now the X-Men franchise can move forward in a way we can all be satisfied with.
For it’s brilliant acting, deft direction, wonderfully executed story, and thrilling action scenes, I’d rank this as one of the best X-Men films made. 9 out of 10.