Perhaps I’m just getting weary of superhero movies now, but it’s not just me, surely? Days of Future Past, while hardly being terrible (sorry, X-Men Origins: Wolverine), is not the equal even of its immediate predecessor, X-Men: First Class (2011, although I’m setting aside 2013’s The Wolverine). I had hope for Marvel movies after the surprisingly enjoyable Captain America: The Winter Soldier, but that was made by a different studio. By comparison, Days of Future Past just seems lazy and bloated. There’s an end-of-days apocalyptic plotline, including a thin excuse to bring together the different timelines (and their respective actors), but it’s no more compelling than Star Trek: Generations so many years before, another franchise to which Patrick Stewart has lent his considerable actorly gravitas. As with that franchise, here too it’s ultimately the younger generation who are more convincing and enjoyable in their roles, James McAvoy as Xavier and Michael Fassbender as Magneto nicely playing off one another, though Hugh Jackman’s Wolverine remains dependable across both timelines. There’s also an expanded role for Jennifer Lawrence, and it’s just as well she’s such a fine actor as she’s required to express plenty of fairly uninflected rage and caprice. Indeed, if there’s anything I’ll remember about Days of Future Past in years to come, it won’t be the special effects or the big setpieces or the now-canonical protracted final battle sequence, but the sense of so many very talented actors (those named above, along with a smaller role for Peter Dinklage, and poor Anna Paquin all but left on the cutting-room floor) being wasted on over-extended big-budget bloat.
CREDITS Director Bryan Singer; Writer Simon Kinberg (based on the Uncanny X-Men comic book storyline “Days of Future Past” by Chris Claremont and John Byrne); Cinematographer Newton Thomas Sigel; Starring Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Peter Dinklage; Length 131 minutes. Seen at Cineworld Shaftesbury Avenue, London, Thursday 22 May 2014.
NEW RELEASE FILM REVIEW || Director Bryan Singer | Writers Darren Lemke, Christopher McQuarrie and Dan Studney | Cinematographer Newton Thomas Sigel | Starring Nicholas Hoult, Ewan McGregor, Ian McShane, Stanley Tucci | Length 114 minutes | Seen at Peckham Multiplex, London, Monday 1 April 2013 (in 2D) || My Rating likeable
I don’t think we really need another story about a boy from a poor background overcoming obstacles to become a man by asserting his masculine dominance and attempting to win the love of a high-born woman. If the film had reversed the roles it might have been a bit more interesting, as I rather tire of feisty attractively-coiffed and dressed young women being rescued by weedy male heroes. But then being based on a fairy tale is hardly likely to lead to a work of subtle artistry. So if the script is a bit on the weak side, trading in generic tropes and absurd caricatures, the film still has plenty to commend it in the performances. It is also winningly — and at times breaktakingly — silly, which is a virtue in this kind of enterprise. Clearly, what this film wants most to be compared to is The Princess Bride (1987), and in that it at least, it partially succeeds.
NEW RELEASE FILM REVIEW || Director/Writer Jonathan Levine (based on the novel by Isaac Marion) | Cinematographer Javier Aguirresarobe | Starring Nicholas Hoult, Teresa Palmer, Rob Corddry | Length 97 minutes | Seen at Cineworld Wood Green, London, Wednesday 27 February 2013 || My Rating good
I must confess that I’ve never been a huge fan of the fairly prolific subgenre of zombie movies, though partly that’s because I’ve never been a huge fan of the horror genre. Blah blah metaphor for problems afflicting humanity, blah blah hollow dead-eyed malaise infecting Western culture (or some variant thereof). And here again, we have a future world that’s an extrapolation of our own, and most people are zombies roaming the hinterlands except for the brave rebels holding out in their fortified city. There’s no explanation for it, but there’s the strong implication right away that we’re in a Starship Troopers-like world where the ‘real’ humans are actually the callous amoral ones, and as for the zombies, their only crime is essentially being apathetic. Well, except for the really bad zombies, the ones that are too far gone. But for the rest of them, the premise here is that they can be rescued. By love.