X-Men Days of Future Past

Given the teen sexual abuse allegations surrounding Bryan Singer, it’s perhaps fitting that his usually fiercely-observed allegories between abused mutants and LGBT youth have been left behind for this instalment of the comic book franchise. Instead, Singer makes action-packed work out of convoluted material. Facing high fan expectations, time-travel, geographical jumps and four films’ worth of mythology to tie together, Singer manages to form an energetic and witty narrative that almost makes sense.
In an apocalyptic 2023, the X-Men find themselves under attack from sentinel robots that were created in 1973. Acerbic and ageless Wolverine (Hugh Jackman) is sent back in time to fix the future, becoming the sarcastic comic presence in this serious-minded tale of choice, control and redemption.
Placing Hollywood darling Jennifer Lawrence at the centre of the action as vengeful but hunted catalyst Mystique, Days Of Future Past becomes a familiar blend of X-Men, First Class and Terminator 2, albeit with incredible action. Michael Fassbender and James McAvoy again prove impressive as violently passionate Magento and controlling moralist Charles Xavier, particularly as a hopeless Charles turns to drugs to numb the emotional, empathetic pain of his telepathy. However, their repetitive exposition renders their relationship stagnant, like most of the relationships in the film - but fans will appreciate both the wit and emotion of the interactions, as well as the striking action.
From Quicksilver’s (Evan Peters) delectable slow-motion, bullet-moving prison bust to the stormy futuristic nightmare that lies waiting for the X-Men, Singer’s action is fast-paced and visually striking – though his seventies setting feels more gimmicky than Vaughan’s interpretation. While his Vietnam-bruised America is emotionally poignant, his Nixon impersonator and JFK jokes feel cheap – though the use of brightly coloured 70s newsreel footage is inspired.
Ambitious, funny, cerebral and confusing, the crowd-pleasing action, passionate delivery and convenient time-travel conceit allow Singer to distract from huge unanswered questions; a power he undoubtedly wishes he could utilise off-screen, too.