Review of X-Men: Days of Future Past (2014) by Kyle M — 15 Jun 2016

Fourteen years ago, "X-Men" regenerated the superhero movie genre and started the run of Marvel's successful movies. The X-Men trilogy ran for 6 years, consisting the similarly-tasted "X2" and the attempted-to-be-similarly-tasted "X-Men: The Last Stand". Three years after the trilogy ended, we were given a dose of the franchise with an origin film ("X-Men Origins: Wolverine") focusing on our favorite mutant. Then 2 years later, the franchise went back to its original roots in another origin film ("X-Men: First Class") on the sides of the race that turned out to be the best yet. Now 2 years later, we went back to the present time of the trilogy in a unique style that follows our favorite mutant (again in "The Wolverine"), then foretelling an upcoming event in the next installment that became the best of the franchise.

"X-Men: Days of Future Past" sets place in a dystopian future of the mutant race on the verge of extinction because of the Sentinels, the mutants' exterminators/hunters. The X-Men are taking their final stand for their race (and the human race I bet by the looks of the Earth's state). Charles Xavier/Professor X (Patrick Stewart) and Eric Lehnsherr/Magneto (Ian McKellen) sent Wolverine (Hugh Jackman) back in time "to end this war before it even begins.".

When Wolverine arrived in his younger self - at some years between "First Class" and "Origins: Wolverine," he set off to find both the young Charles (James McAvoy) and Eric (Michael Fassbender) to stop Mystique/Raven (Jennifer Lawrence) from doing a crime that started the dystopian future with enhancement.

Meanwhile back at the future, Storm (Halle Berry), Iceman (Shawn Ashmore), Colossus (Daniel Cudmore) and few newly-introduced mutants are protecting Kitty Pryde (Ellen Page) so she can concentrate on keeping Wolverine's consciousness in his younger self.

Bryan Singer, the original director of the first two X-Men films, returned to his director's chair to the franchise with great results. The elements that were seen in the early films came back when he (Singer) came back to fix the franchise's labeled "mistakes." Looking at what Singer masterfully directed with the fitted elements, emotions and heart and bringing back the original cast members (I wish he didn't have to cut Anna Paquin's Rogue scenes out) together next to the younger cast, he's a contender for Best Director for directing the best non-MCU (Marvel Cinematic Universe) film behind "The Avengers.".

What makes this X-Men film the best is the smarts and the excitement. The excitement was first stirred during the opening titles, composed by Singer's usual collaborated John Ottman. The film started in a grim state, but until the opening titles showed up, it has the same design as the earlier films', including the ending credits. Then as the film flows from there, it's a pleasant sight to see the returning characters from the original trilogy; same as well for the "First Class" characters.

(I can't say anything on the film's smarts, or there'll be spoilers).

Now about the film's main threat: the grim contents. While the similar type of contents can be seen in "The Wolverine" that's gripping to watch on one character, the grippiness started to make itself present in the franchise, as well the grimness. But it was overpowered by the film's pleasing outcome along with humor and power.

Like I said before, director Bryan Singer is a contender for Best Director for directing a film that's the best of the year, best of the franchise, and the best non-MCU film behind the MCU's "The Avengers." (A+).