Thrilling in every way but one, “X-Men: Days of Future Past” is the technically virtuous, wildly entertaining film that is to redeem its enduring franchise from its ostensible death marked by Brett Ratner’s butchered third film, “The Last Stand.”
If this so-redemption hasn’t been done already in Matthew Vaughn’s 2011 prequel “First Class,” then it makes for a tall order, one that the film—commissioned no less than to Bryan Singer, whose first film inspired the continuity of the franchise franchise, albeit here lacking that certain flair from his previous “X-Men” films—succeeds to deliver, placing the franchise in a positively exacting position.
The central plot, for instance, could have had a fuzzier presentation had it been touched by someone with a less confident knowledge of the comics than Singer’s. It is his and scriptwriter Simon Kinberg’s conscious decision to posit the film straightforward to the conflict and the mutant’s helpless attempt at resolution (no time travel-lecture here, ‘sire!). Which then affords the film much more time to (over?) stuff itself with action and story; but costs, too, time for Singer to press on character development and the mutant’s metaphorical heft—civil rights, humanity, terrorism, etc. The result, at best, is a frenetic, engaging and coherent melding of timelines that may not be closely compared to Singer’s singular work “X2,” but then there’s not really a need for it.
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The time-travel conceit is a convenience to the film, as the film is altogether a convenience to the franchise. It allows introduction to new X-Men—most notably Blink (Fan Bingbing) who shoots eye-catching teleportation portals, and, Quicksilver (Evan Peters) who, in the most amusing semi-time frozen prison break sequence cinema has thus far seen, re-arranges a shootout to the tune of Jim Croce’s “If I Could Save Time in a Bottle”—and makes for a distinctive type of villain in pragmatic super-genius Bolivar Trask (Peter Dinklage), whose living, supposedly negates the grim future of remorseless copycat-robotics called Sentinels. He stands in-between Xavier (James McAvoy) and Eric (Michael Fassbender) who, as Professor X and Magneto (played respectively by Patrick Stewart and Ian McKellen), is divided by their individual sense of peace, the latter, perhaps more interested in liberty than anything else. Mystique (Jennifer Lawrence) could have been written better, but here she is rendered back to the stubborn teenager that she was as Raven.
Logan (Hugh Jackman), the X-Men’s primary vessel of pain, lives to see both the past and the future—and naturally that is a burden. The gruff, lone warrior carries on with this until the forthcoming Apocalypse, and as the young Xavier, exclaims, we wouldn’t want neither of his future nor his suffering, but would want to be there to see.
