It's tempting to begin this review with a recap of the previous films. However, I've already done that here, and even X-Men: Days of Future Past itself assumes that its audience will be reasonably familiar with the series' convoluted narrative, offering virtually no explanation of who the extensive cast of characters are and their relationships to each other. However, despite the wilfully stuffy confusion of some reviewers, only a cursory knowledge of previous X-Men titles is really necessary to follow the time-twisting plot, although it's true that long-term fans of the series are the most likely to enjoy this episode fully. As always, since I'm writing this review several days after the film has been released, expect major spoilers. If you haven't yet seen the film, stop reading now, but if you're looking for a recommendation, X-Men: Days of Future Past is one of the best entries in the series and you should see it as soon as possible.
One of the most interesting elements of Days of Future Past is its numerous allusions to dystopian science fiction cinema, particularly during its futuristic first act. The earlier films clearly owed a debt to the genre, but here there are specific visual and narrative homages to its forbears. The captured mutants being marched down bleak corridors are reminiscent of the workers in Metropolis, and the bodies of the dead recall the imagery of both The Terminator and Soylent Green, all piled up in a hellish landscape that reminds us of Blade Runner, The Matrix and Tron. Disturbingly, these scenes are suggestive also of the holocaust sections in some of the other X-Men films, and are undoubtedly some of the darkest and most challenging sequences of the entire series. In another director's hands, these scenes could very easily have felt derivativeand even tasteless, but with veteran Bryan Singer at the helm, they feel like the logical, nightmarish conclusion to the themes of the series.
|Storm's onscreen time is limited but memorable.|
Where the visual references of the future scenes are necessarily science-fiction, the scenes in the 1970s are more likely to recall the political thrillers of that decade; an approach which also worked extremely well in this year's Captain America: The Winter Soldier. It's one which functions simultaneously as a visual contrast to the future sequences, and as an extension of the film's political and social themes. Singer and his production team deserve recognition both for combining two potentially disparate aesthetics into a coherent style, and for creating a visual design distinct from both the millenial blue of the original trilogy, and the technicolour 60s fantasy of X-Men: First Class.
Perhaps the most consistent criticism that has been levelled at Days of Future Past is its convoluted narrative, jumping, as it does, from future to past and back again. To paraphrase one review of another superhero film, there is indeed more plot here than story. Moreover, the future scenes very much feel like the action-packed finale of a different film - the last few minutes of a movie edited to punctuate the 70s-set narrative. As a result, most of the future characters get only a few lines each, if at all, and not really anything approaching characterisation. That said, the future cast succeed at making us care about characters who are, to be generous, sparsely written, and Singer's narrative economy here is admirable. Imagine if Peter Jackson, with his inability to cut the fat from a story, had directed Days of Future Past, and it's easy to see the sense behind Singer's decision to keep the future scenes to a minimum. The director shows us only what is absolutely necessary before moving us on to the real meat of the 70s-set story. And it's here that the real emotional development comes, primarily in a neat reversal of the student / mentor dynamic between Wolverine and Xavier. Predictably, the main cast are all on form: Jackman has for years been inextricably associated with Wolverine, and is at complete ease in the role, whereas Fassbender and Lawerence both bring welcome depth and pathos to Magneto and Mystique. Indeed, more so than any other instalment, this X-Men film blurs the lines between heroes and villains.
Despite the strong performances and impressive narrative plate-spinning, it is fair to say that Days of Future Past exists primarily to tidy up an increasingly complicated and frequently contradictory backstory. The events of the disappointing third instalment, The Last Stand, are conclusively and overtly written out in the film's final scene with the unexpected but welcome return of some of the series' missing characters. Similarly, the repeated appearances of a young William Stryker feel unnecessary and extraneous to Days of Future Past's story. However, somewhat forgivably, his inclusion conflicts with the timeline of X-Men Origins: Wolverine, effectively erasing the events of that film from the series canon.
|Arguably the strongest set piece of the entire series.|
Days of Future Past's greatest strength lies in its action, which offers the best set pieces of the series as well Inception-flavoured finale which combines past and future showdowns with the terrifying, mutant-hunting sentinels. Incidentally, the film contains some seriously grisly violence and really pushes the 12A rating; if The Last Stand was unafraid to dispassionately kill off major characters, Days of Future Past forces us to witness the suffering of a cast ripped apart by robotic drones indifferent to their roles as series favourites.as several sequences that feel fresh and innovative in a genre bloated with epic spectacle. The best of these is newcomer Quicksilver's showpiece, in which he whizzes around security guards in one of the most preposterously enjoyable jailbreak scenes ever filmed. Honourable mention also goes to the
With spectacular flair, distinctive visuals, and a strong, if somewhat convoluted story, X-Men Days of Future Past offers what may be the best entry in the series. This is also the darkest episode in the ongoing saga, but balances that darkness with perfectly measured levity and humour, deriving from an extremely polished script and strong central performances. If, as with all X-Men films, some of the characters feel a little-short changed, and the plot bounces along a little too quickly, it is only because of Singer's insistence on keeping a tight focus on the type of story he wants to tell. Similarly, much of the dialogue functions as simple exposition, but with a narrative that keeps the thrills coming thick and fast, it hardly matters. With an unprecedented run of three good films, after fourteen years it seems that the X-Men have finally found their footing, and it really couldn't be stronger.