Movie thoughts: X-MEN: DAYS OF FUTURE PAST (Spoilers)
I saw X-Men: Days of Future Past today. It’s a very good movie, and while its time travel isn’t entirely plausible (when is it ever?), it’s at least self-consistent and straightforward in its internal logic. The character work is good, although Wolverine doesn’t really seem like Wolverine. The premise requires him to get out of his comfort zone and adopt a role very different from what he’s used to, which is a good place to take a character, but it would’ve helped if we’d gotten to see it balanced with more of who he normally is, either in his 1973 or 2023 mental state. The one moment where he lost control was one that could only really be understood in the context of what came before.
But really, this whole movie only works as an installment in a series, a continuation of things the audience has seen before — indeed, as a culmination of the series to date, bringing the whole thing together more coherently than it’s often been in some of the middle installments. What’s impressive — spoiler alert — is that even though the ending resets the timeline and undoes the events of the not-well-liked The Last Stand (and possibly every other movie except First Class), the film nonetheless acknowledges and uses all of what came before and thus gives the series a greater sense of unity. Which is a good place from which to move forward for future installments.
The recreation of the ’70s was pretty good, seeming reasonably authentic without coming off as a caricature. Although some of the technology seemed anachronistic, like some of the plastics being used in the anti-Magneto guns and the Sentinels. Trask’s mutant-detecting remote control looked more like a product of the 2000s than the 1970s; it should’ve been big, boxy, and black or brown, or maybe that sickly green that was oddly popular in the ’70s. I was also concerned that some of the vocabulary was anachronistic, like when Charles said Trask would “weaponize” Mystique’s powers, but Merriam-Webster said that usage has been around since the ’50s. There was one other usage that seemed too modern, but I can’t recall it now (I think it was something Charles said to Wolverine after his failed attempt with Cerebro). And how did Magneto know “I don’t know karate but I know crazy,” from an early-’70s song, if he’s been locked in a cell with no access to electronic devices since 1963? Maybe he overheard a guard singing it?
Speaking of which, the Quicksilver breakout sequence was just as awesome as the reviews have been saying. Quicksilver’s a great character, despite the goofy silver hair — isn’t it supposed to be white? I hope he’s back for the next movie.
My one big disappointment is that we never really got to see the ’70s Sentinels being what they were meant to be, a threat against mutants. They just went right to being Magneto’s weapon against humans. Sure, we saw the future Sentinels, but they were more like scaly T-1000s than the classic Sentinels of the comics and cartoons — or the Sentinels I wrote about in X-Men: Watchers on the Walls (shameless plug). So it wasn’t quite the same. It also leaves me wondering about the original timeline. If Trask had the Sentinels designed in 1973, and if his assassination led the government to go ahead with the program, then that implies that the X-Men must have faced them sometime before the movies we saw. The use of a Sentinel simulation in the Danger Room in The Last Stand certainly supports this. So what happened to them? Why wasn’t the government using them against mutants during the original two films?
I also wonder how Xavier got his act together in the original history where Logan didn’t come back. We’ve seen in X-Men Origins: Wolverine that within six years after this movie, he’s assembling the X-Men (and is bald and is walking, though with his telepathy intact). And of course he eventually becomes the wise mentor we see in the first three films and the future scenes here. So he must’ve found his way on his own somehow — Logan just helped him do it sooner. I’m curious how it originally happened.
The big thing that bugged me was giving Kitty Pryde this time-travel power out of nowhere. It doesn’t really make sense. I understand why they couldn’t be faithful to the original story and have Rachel Summers send Kitty’s mind back, because in the movie universe, Kitty wouldn’t have been born yet in the ’70s. Given the 50-year gap, sending Wolverine makes sense. But giving Kitty an arbitrary power just to keep her involved in the story doesn’t really work for me. What’s the connection between phasing through objects and telepathic time transference? Unless… hmm… unless she phases by putting herself out of temporal sync with matter. Or something. I would’ve liked some kind of explanation. It’s all very contrived.
Also, the timing puzzles me. From the assassination attempt in Paris to the unveiling of the first Sentinels probably took a few days, even if Trask already had the prototypes built. So Wolverine’s mind was back in the past for quite some time. If time in the future was moving at the same rate, does that mean Kitty was sitting there with her hands against Logan’s temples for days on end? Without sleep or food?
And while we’re at it, why can’t Mystique use her shapeshifting to heal her bullet wound? Just shift the tissues back into an intact configuration? If we assume it required an effort of concentration to hold a form, it wouldn’t be a permanent fix, but couldn’t she at least have used it as a temporary patch to aid her getaway? This is a common trope, shapeshifters retaining injuries when they change forms, and it always seems inconsistent to me. (Although come to think of it, this was established about Mystique way back in the original film, where Wolverine’s claws left wounds that remained when she shifted forms.)
Okay, every movie has plot holes, but for the most part this one held up very well and there was a lot to like. In the future portions, I was particularly fond of Blink’s power, which was rendered very nicely. I loved the way her “doors” let you see an action from two angles at once. And in the past, I guess what struck me the most was how much it was the story of Mystique’s redemption — and Charles’s through her, in a way. She’s ended up playing a role in these past two movies that I never would’ve expected from her prior screen and comics appearances. I’m still a little underwhelmed by Jennifer Lawrence, though. She’s reasonably good, but I don’t find her as impressive as a lot of people seem to.
Oh, and I liked the in-joke of the clip from “The Naked Time” showing on Hank’s TV. Although they kind of looped back through the scene a couple of times — Kirk said “A time warp?” at least twice. (So he was doing the time warp again?)
About those final scenes… I’m glad the altered history brought Scott and Jean back, and it was neat to see Kelsey Grammer’s cameo as older Beast (although I convinced myself that wasn’t really him, and it’s only in looking online afterward that I found it was). And since Rogue is back at the school (I didn’t blink, so I didn’t miss it), I assume that means she never got the “cure” and still has her powers. So it’s nice to see the band back together. The problem is that I don’t think we’re likely to see that timeframe again, with the focus shifting to the younger cast in historical settings. Also, I’m not sure how I feel about the events of the better films — the first two X-Men movies and The Wolverine — being implicitly removed from continuity. I would’ve liked some reassurance that they still happened pretty much as we saw. Although I guess The Wolverine can’t happen the way we saw, because that whole movie is about Logan dealing with the impact of Jean’s death, and its post-credits scene is a setup for the dark future of this movie.
Well, I guess I can still believe those movies “count,” because it was that sequence of events that led to the circumstances that sent Logan back in time with the consequences we saw here. So there’s still a causal progression that makes them relevant. Still, I’m sure there’s going to be a ton of debate about this continuity reboot in the years ahead. Though less so than there was for something like Star Trek, since it was widely considered that the X-Men franchise had lost its way and the reboot was an opportunity to fix that. Which it certainly did. Bryan Singer himself may not have the ability to go back in time and undo the mistake of doing Superman Returns instead of the third X-Men film, but he’s done the next best thing, at least where this franchise is concerned.