This may prove to be the most difficult review I’ve ever written in my twenty years (!) of reviewing movies. How do I ever begin to describe the events of Marvel’s culminating blockbuster Avengers: Endgame without stepping too far into the dark and dangerous territory of the accursed spoilers? I thought it would be difficult talking about last year’s Infinity War considering the shocking plot events and general secrecy, but this concluding chapter to a 22-movie journey is even more secretive (the trailer accounts for only footage roughly from the first twenty minutes). I’ll do my best, dear reader, to give you the clearest impression I can of this unique experience while respecting your need to be un-spoiled. In short, Avengers: Endgame is unparalleled in our history of modern popular blockbusters because it needs to work as a clincher to a decade-plus of hugely popular blockbusters for the Marvel Cinematic Universe (MCU), and boy do they ever stick the landing.
The film picks up with our surviving Avengers picking up the pieces following the events of Infinity War, namely Thanos (Josh Brolin) eliminating half of life throughout the universe. The original six Avengers are all suffering through guilt, depression, and degrees of PTSD following their failure to defeat Thanos. Scott Lang a.k.a. Ant-Man (Paul Rudd) arrives after having spent time in the quantum realm and has a potential solution that will involve traveling through time to correct the mistakes of the past and bring everyone who vanished back to life. The remaining teammates assemble at the behest of Steve Rogers a.k.a. Captain America (Chris Evans), including Bruce Banner a.k.a. Hulk (Mark Ruffalo), Black Widow (Scarlet Johannson), Thor (Chris Hemsworth), Hawkeye (Jeremy Renner), Rocket Racoon (voiced by Bradley Cooper), Nebula (Karen Gillan), and War Machine (Don Cheadle). However Tony Stark a.k.a. Iron Man (Robert Downey Jr.) needs the most convincing, as he is most afraid of making things even worse and losing more people he feels are too precious to be casualties to their failures once again.
The thing to know ahead of time is that Endgame is not for the casual fan. This is a long love letter to the fans that have pored over all 22 preceding films, not just a scant one or two. Infinity War was accessible to relative newcomers because of the structure and focus on Thanos as the main character, providing a self-contained arc that lead up to his finger-snapping triumph. It also benefited from the fun factor of simply watching a bunch of popular characters interact and team up for the first time in MCU history. Now that a majority of those characters have turned to dust, the emphasis falls back on the original core of the Avengers, bringing things full circle. In several ways, Endgame is about bringing to a close this mammoth project that began with Iron Man, this decade of storytelling ambition that has stretched out into multiple inter-connected franchises. If you love these characters, then Endgame is a movie made specifically for you. There is a long stretch in Act Two that relies upon a decent amount of fan service and sentimentality, but I don’t think either is an automatically negative attribute. Before we reach the finish line it’s important to take stock of how far we’ve come and this goes for the essential characters and their long arcs. There are several fun cameos strewn throughout and the filmmakers even take an interesting tack of trying to reclaim and re-contextualize the MCU movies that fewer people enjoyed. It makes for a filmgoing experience that is heavy in references, in-jokes, Easter eggs, and cozy nostalgia, which will confuse and frustrate those not well versed in this big world.
The other thing to know, especially if you’re a long-standing fan, is that there will be tears. Oh will there be tears. I lost count of the amount of times I was crying, which was pretty much on and off nonstop for the final twenty minutes. I was even tearing up for supporting characters that I didn’t know I had that kind of emotional attachment for. The film is done so well that the first third actually could play as the MCU equivalent of HBO’s The Leftovers, an undervalued and elegant series about the long-term recovery of those that remain in a post-rapture world. The opening scene involves a character having to go through the loss of loved ones via Thanos’ snap, and it’s brutal as we wait for what we know is coming, dread welling up in the pit of your stomach. The Russo brothers, the returning directing team from Infinity War, know what scenes to play for laughs (the line “That’s America’s ass” had me in stitches), what scenes to play for thrills, what scenes to play for fist-pumping cheers, and what scenes to play for gut-wrenching drama. They allow the movie to be an existential mood piece when it needs to be, actually dwelling on the repercussions of a life post-universe culling. There’s a character who frantically searches to see if a loved one was among the missing, and that eventual reunion had me in tears. With the three-hour running time, the Russos have the luxury of allowing scenes to naturally breathe. This might be the most human many of these characters have ever seemed, and it’s after recovery and grief. Needless to say, the conclusion feels very much fitting but also unabashedly emotional, unafraid of diving deep into its feelings. I sobbed.
I was worried once the film introduced the time travel plot device that everything was simply going to be erased and invalidate the struggles that came before. The worst use of time travel is when it eliminates any urgency or danger, allowing an endless series of do-overs to correct the past. Fortunately, returning screenwriters Christopher Markus and Stephen McFeely (Civil War, Winter Soldier) realize that in order for there to be a reversal, a glint of a happy ending, there must be a cost or else it all meant little to nothing. There are finite events in the movie that cannot change (as of now) and losses that will be permanent (as of now, if they don’t want to cheapen the journey). People died with Infinity War but we all knew, at least when it came to its dreary conclusion, that it wasn’t going to be too long lasting, which allowed the communal grief to be short-lived. After all, there’s a new Spider-Man film coming down the pike two months from now, so it’s highly unlikely the teenage web-head will remain dead. However, with Endgame, the deaths serve as the cost for resurrecting the MCU, and they will be felt for years. The screenplay provides limitations to the time travel mechanics, though I don’t think the collective hand-wave to the nagging paradoxes was as successful as the movie thinks it was. The film barrels ahead, essentially telling you to forget about the paradoxes and enjoy the ride, focusing on the characters and remembering what is really important.
Suffice to say Downey Jr. is once again his charming, self-effacing, and enormously entertaining self. The MCU began with this man and his contributions cannot be overstated. He is the soul of this universe. Evans is compelling as the straight-laced inspirational figure who takes stock of what he’s sacrificed over the years, Hemsworth showcases a potent mixture of comedic and dramatic chops, Johannson is definitely the Avenger going through the “bargaining” phase to try and make things right and she has some subtle emotional moments that belie her desperation and guilt, and Renner makes a welcomed return in a way that made me appreciate Hawkeye like I never had before. Brie Larson does reappear as Captain Marvel but the movie smartly puts her back on the sidelines protecting the many other worlds in the universe needing assistance because of how overwhelmingly powerful she can become. Larson filmed her scenes for Endgame before her own solo movie, released a month prior, so forgive the different hair and makeup, Twitter nit-pickers. I will say there is one scene that is a bit convoluted how it gets there but is destined to make women in the audience cheer with excitement as the MCU says, “Hey, that whole ‘strong female character’ thing? Yeah, we’ve had all that for years, and here you go.”
How does one properly assess a movie like Avengers: Endgame, a conclusion not just to an Infinity War cliffhanger but to a twenty-two movie prelude over the course of eleven years? The emotional investment in these characters, their journeys, has to come to something to be ultimately meaningful when it’s time to close the chapter on one massively ambitious story before starting the next. And there will be a next chapter; the MCU’s unparalleled financial success assures the fanbase they’ll have plenty more high-flying and wild adventures to come in the years, and more than likely, decades to come. Marvel had the unenviable task of wrapping up a major narrative in a way that would prove satisfying without devaluing the individual films and overall time investment. Hollywood is filled with trilogies that messed up their conclusions. Nailing the ending is just as important as getting things going right, because without a satisfying conclusion it can feel like that level of emotional investment was all for naught. Endgame reminds you how much you’ve grown to love these characters, what fun you’ve had, and genuinely how much you’ll miss these characters when they depart for good. It’s hard not to reflect upon your own passage of time with the ensuing eleven years, how you’ve changed and grown from the MCU’s humble beginnings in the summer of 2008. These heroes and anti-heroes can begin to feel like an extended family for many, and so fans desperately need the ending to do them justice. Avengers: Endgame is the ultimate fan experience.
Nate’s Grade: A
On one hand I can admire the “who gives a damn?” ethic behind the sequel to Happy Death Day, a fun time loop of slasher cinema tropes. The original had some darkly comic edges but mostly played its premise straight in the realm of horror. The sequel doesn’t play anything straight. It’s completely bonkers and looking to turn anything into a joke. This provides a charming carefree sense of bravado; however, if you were a fan of the first film, it also might rub you the wrong way and seem overly flippant and messy. We get a science fiction explanation involving parallel universes as to why the time loops are happening, and now our heroine Tree (Jessica Rothe) is stuck in a parallel version of her looped day. The film sidesteps a Back to the Future 2 sense of repetition but doesn’t stray too far from the outlines of the original Happy Death Day, just with a few new surprises. The big question is whether Tree will return to her home dimension or stay as a tourist in this new dimension, a world where her mother is still alive but her boyfriend is with somebody else. As should be obvious, this hard choice isn’t really that hard considering that she could always still get with the would-be boyfriend again. There are some comedic sequences that borderline on farcical sitcom, like a montage of suicide set to Paramore’s “Hard Times” and a woman faking being a bumbling blind student, and too many of the plot complications feel artificial and random, especially the delays to return to the home dimension. The world can often feel constrained as well, like this bustling campus only comprises the same eight faces (and their bushy eyebrows). My biggest gripe is that the first act is completely superfluous and it presented a more compelling mystery, a student from a future trying to kill their past self to avert a crisis. That’s way more interesting than another dopey killer in the baby mask. Still, the movie never pretends to be anything other than a fun couple of hours with sprightly visual comedy and a terrific anchor in Rothe, a comic stalwart. Happy Death Day 2U gets more ridiculous as it goes and I hope it just keeps digging further, never finding its bottom.
Nate’s Grade: B-
Ever wanted to see Oscar-nominated actress Rooney Mara eat a pie? Odd question, I realize, but apparently one that writer/director David Lowery felt compelled to answer. With the success of last year’s utterly heart-warming Disney remake of Pete’s Dragon, Lowery secretly made a low-budget movie with Casey Affleck and Mara, reuniting two of his actors from Ain’t Them Bodies Saints. The end result, A Ghost Story, literally involves a deceased Affleck stalking the screen in a long white sheet with two eyeholes. Lowery’s tone poem of metaphysical grief will likely alienate just as many people as it dazzles, and I fall squarely in the former camp. This movie is arthouse bluster.
This is a twenty-minute short stretched beyond a breaking point to fit a feature-length running time. It’s an impressionistic movie in the guise of the works of Terrence Malick, small and earnest and far more concerned about mood than story. That’s fine but if you’re going the impressionistic route I need scenes that aren’t self-indulgently laborious and constantly striking the same note. The majority of this movie is beautifully composed shots that eventually reveal the ghost standing in the background. It becomes a game of guessing when the camera will reveal the ghost’s presence. I understand that grief and loneliness is going to naturally deserve a slower pace to get a sense of the melancholic loss, but a slow movie that keeps delivering the same imagery is monotonous. The metaphors get old. The only thing holding the audience together is the time-traveling quest for the ghost to retrieve the note Mara’s character slipped into a door jam. It’s a long mystery that will ultimately prove an unworthy payoff. If Lowery is intending for the audience to feel the same sense of boredom and isolation as the ghost, that’s fine, but the movie dwells in this same emotional space with too little variance or further insight.
And this is where I have to come back to the pie as a symbol of the film’s self-indulgence. I have felt the urge to walk out of other movies but never acted upon them. I was minutes away from walking out on A Ghost Story, and it was the pie-eating scene that almost pushed me to bail. The idea of binge eating your feelings is a suitable metaphor for grief, and it works on its own initially, as she sniffles and holds back tears with every bite. And then she keeps eating. And then she keeps eating. The scene goes on for like ten minutes, uninterrupted, and with no further commentary. You are literally watching Mara eat a pie in real time and then throw up. After the sixth or so minute of pie consumption, I started laughing out loud, and then other people around me joined in. What can you do? Just as Mara’s character overindulges to the point of sickness, this scene pushes the beleaguered audience to the point of running out of the room gagging.
This would be different if the movie gave Mara anything really to do besides swallow her feelings. She has a few more scenes of the humdrum of moving on, painting the house she shared with her loved one, and then leaving. It seems like an awful waste of Mara’s talents but I would say the same thing for Affleck. I’m sure not having to memorize any lines after the ten-minute mark and getting to emote entirely through physical expression could be fun for an actor. It’s practically a throwback to silent film thespians. However, he’s just kind of there, like living furniture. I understand that part of grief is feeling like you’re a forgotten being and that time is infinite and punishing. I understand that sadness can feel numbing and cut to the bone. I get the mood; I even get the central metaphor of the de-contextualized ghost in a sheet just hanging around old haunts, unable to do much else, disconnected from the world and unable to move on or make sense of things. My issue is that this approach relegates the actors to stand-ins, squeezing the characters into intentionally bland ciphers for audience relatability. They are not allowed to be characters because somehow this would detract from the artistic appeal or message.
It’s frustrating because A Ghost Story has ideas, images, and moments that intrigue, beguile, and have a poignant power. It’s when the film expands beyond its limited parameters that it becomes its more interesting shape. As the ghost attempts to keep watch over Mara’s character, time moves much faster, to the point that a mere walk from one room to another can be the expanse of months. The triptych sequence of being unmoored through time, as everything speeds by so quickly, accentuates the helplessness of the ghost as well as the isolation. It’s like the world and life itself is outgrowing them, forgetting them, and leaving them further and further behind. There are also other ghosts and our ghost has a subtitled dialogue with them. It sounds silly but it’s actually one of the most sublimely affecting moments in the film, an idea that actually hits its intended mark. Take this exchange: “I’m waiting for someone,” “Who?” “I don’t remember.” Then the other ghost goes back to waiting, forever hopeful, forever clinging onto something that has long since evaporated, where even the memory, the concept of the idea of why has also vanished. Late into the movie the ghost starts going backwards and forwards in time, to a distant future of Bladerunner-like neon high-rises, to the nineteenth century to track a family of westward settlers. The abrupt careening through time says more about the ghost’s existence and it keeps things fresh. If this movie was a total wash, I could write off Lowery’s curio as self-important navel-gazing, but there are kernels of ideas, or moments, that stand out and demand a better presentation for better effect
A Ghost Story will definitely strike different people differently. It’s a deeply personal, poetic, and, if you’re not properly attuned to its metaphysical funeral procession, pretentious and pondersome film that wears out its welcome long before the end credits. I found the substance to be spread too thin over such a longer running time than this execution deserved. If you’re going for an impressionistic evocation, then the scenes need to be paced better. If you’re going for a mood of loneliness, then latch onto the character better and let’s follow Mara’s character as she rebounds and grows old. If you’re going for an existential horror movie, then present more confusion and terror and less of the same visual metaphors on constant repeat. If you’re going for Rooney Mara eating an entire pie in real time, then, well, actually you’ve succeeded. Congratulations. A Ghost Story is going to be one of those movies that critics fawn over that leaves me shrugging.
Nate’s Grade: C
Miss Peregrine’s Home for Peculiar Children feels like Tim Burton’s X-Men franchise, and it’s just as awesome as that sounds. Burton has always had an interest in the outcasts and misfits of society and now he has his chance to leave an imprint on the ever-present superhero phenomenon. His own personal group of gifted youngsters is looking to form a funky family and fight against fearful forces that have their sights set on exploiting these special children or worse. It’s a natural fit for a man who has become a Gothic industry unto himself over three decades of peculiar and spooky filmmaking. This is Burton’s chance to flex franchise tentpole muscles with a subject matter perfectly attuned to his offbeat sensibilities, and watching the fabulous final product is akin to watching a master musician dive into Beethoven’s Fifth. This movie was flat-out delightful.
Jake (Asa Butterfield) is reeling from his beloved grandfather’s (Terrence Stamp) mysterious death. The old man loved sharing his stories about tending to the shape-shifting Ymbryne Miss Peregrine (Eva Green) and her wards, a group of children with special abilities including starting fires, controlling plants, invisibility, and being able to float lighter than air. On a trip to Wales to investigate grandpa’s stories, Jake discovers a time portal and is taken back to the WWII era where Miss Peregrine is waiting for him. She and her children relive the same day and will never age. They’re hiding from Barron (Samuel L. Jackson) and his group of scientists who wish to hunt the children. Jake is tasked with being the new protector, as he is the only one that can see an invisible band of slender monsters known as hollows that feast on the children.
There’s a whimsical nature to the dark elements, and the script is rife with enjoyable payoffs and fun moments that cry out for a full visual immersion. This is Burton’s best film since 2007’s Sweeney Todd (I have a soft spot for that macabre musical), arguably best since 2003’s Big Fish, and maybe his most fun movie since his 90s heyday. If you’re a Burton fan, you’ll be tickled by all the imagination and humor. I grew up on the cinema of Beetlejuice and Edward Scissorhands and The Nightmare Before Christmas (yes, directed by stop-motion maven Henry Selick but still very much a Burton film), so I’ll admit that seeing Burton in high form once again warmed my little mischievous heart.
You get a sense just how involved Burton was in the filmmaking and its details, the degree of passion and involvement, and also his commitment to being a dark movie intended for peculiar children and adults with macabre interests all over the world. I kept thinking that the 12-year-old version of myself would have adored this movie, never mind the 34-year-old version of myself who greatly enjoyed it too. This feels like a natural evolutionary step for children and adolescents who gorged themselves on the works of Edward Gorey and R. L. Stine. It’s not a significant spoiler but it’s something I feel you, dear reader, need to know in order to properly assess just how wonderfully morbid the movie can come across. There is an entire visual feast of a group of villains dining upon the delicacy of… children’s eyeballs. You read that right. It’s a silver platter piled high with severed eyeballs, and they get slurped down like it’s spaghetti. I could only cackle to myself at the audacity of the movie to embrace the fun of the darkness rather than hiding from it, mitigating it, trying to be delicate with tone. The villains want to return to a normal state that can only be achieved by consuming the eyeballs of peculiar children, and so they are hunted not for sport or prejudice but for eyeballs. That’s wonderfully squirmy, and it definitely affected me, an avowed cinema patron who gets extra squirmy with any onscreen eye trauma. There are other creepy and memorable moments, like a dead child being used as a ventriloquist doll and the slenderman-styled hallows creatures. The moments are plenty but they don’t choke the story’s momentum, which hums along with great imagination and lucidity.
There’s a lot going on with Miss Peregrine, and Jane Goldman’s (Kingsmen) screenplay juggles a lot of rules and world building without losing momentum. I was intrigued early and the movie would widen its focus, providing more texture and connection to the world in calculated doses. It was enough that I always felt like I was learning something while still being able to see how the pieces snapped together in retrospect. There’s time travel that has to be done at a very specific point, the rules of who can travel back in time to these bubbles of safety, the history of this specific day stuck in time, the non-linear history of the protectors, the fact that the bubbles are also teleportation hotspots, the history with Jake’s grandfather, the history of the Ymbryne and their powers, the powers of all the peculiars, dream prophecy, mad scientists and their peculiar ailments, the differences between the hallows and the predatory scientists, and also establishing the character dynamics of several lost children and a budding YA romance. It’s amazing that Goldman’s script is as understandable as it is considering all that heavy lifting. It’s not completely free of muddled plot points and some hazy explanations, but those instances are a clear minority to what works so effectively. I wanted to know more about this world, and once they added time travel and teleportation, I was hooked. I enjoyed the movie so much that I’m considering reading the additional books for my next freaky fix.
The acting ensemble is full of bright spots and none brighter than the new queen of genre gusto, Eva Green. I raved about Green’s magnetic performance in the considerably lesser 300 sequel. She was easily the best part of that movie and it suffered whenever she wasn’t on the screen. The same can be said for the too-long-in-the-making Sin City sequel. She was the best thing in Burton’s otherwise forgettable Dark Shadows feature. In short, this woman is incredible, and she digs into the vampy and ridiculous with the right degree of malevolence and glee. Green is a wonderful hostess into this magical world, and her foreknowledge gives her a caffeinated energy that makes her even a tad more peculiar. Her children are all fine actors who have uneven parts thanks to the unfair distribution of their powers. Not everyone gets super useful abilities. I felt sorry for the kid who projected his dreams from his eyeball especially during the third act scuffles. A mouth in the back of the head doesn’t seem very useful either. I enjoyed the idea that the invisible kid needs to be fully naked to be fully invisible, and everyone acknowledges this reoccurring fact with shoulder-shrug nonchalance. The standout amongst the peculiars is Ella Purnell as the winsome girl who will float away. She has an innocent and yearning quality that doesn’t sink her character. She’s more than just a love interest to Jake and Purnell helps channel great affection. Jackson (The Hateful Eight) is expectantly highly entertaining as the lead villain and Butterfield (Ender’s Game) is perfectly acceptable as an audience surrogate into this wild world.
I was duly impressed with just about every element, from the structure of the screenplay and its precision with information and intrigue, to the level of acting, to the dark and whimsical tone, to Burton’s own peculiar particulars that fill out the film with adoration. It may sound corny but there is an affection woven throughout the film, for its dispirit outcasts, for their strangeness, for the ardor of telling a spooky story that can appeal to children without pushing away adults. There’s a care that’s been absent Burton’s other recent films, especially Dark Shadows, which left me bewildered whether Burton had any genuine fondness for the source material. Miss Peregrine’s Home for Peculiar Children is a haven for fans of the peculiar, Burton’s oeuvre, and those looking for a quality children’s film that has some bite. I can only hope for more fantastical adventures.
Nate’s Grade: A-
If you’re a fan of James Cameron’s iconic Terminator franchise, you’ll probably want to hold onto something as you watch Terminator: Genisys, which hits “delete” on the franchise and starts from scratch with, we’ll call them, “mixed results.”
In the future, man and machine are at war with one another. Skynet went sentient and launched an arsenal of nuclear weapons to obliterate mankind. The human resistance is lead by John Connor (Jason Clarke) and his lieutenant Kyle Reese (Jai Courtney). The machines send back a T-800 Terminator (Arnold Schwarzenegger) to kill John’s mother, Sarah Connor (Emilia Clarke) and wipe out the human resistance. This part you know. Reese is sent back in time but during the process, John is attacked by a new Terminator and the world as we know it, past, present, and future is altered. When Reese arrives in 1984 L.A., he’s being chased by a T-1000 and Sarah is the one saving him. She’s been preparing for his arrival and training with her own aging T-800 model who saved her from a childhood attack (she calls him “Pops”). With new memories, Reese is determined that Skynet is now Genisys and Judgment Day is now in 2017. He and Sarah travel to 2017, meet back up with “Pops,” and are surprised to find a familiar face waiting for them with sinister intentions.
For a while there it seems like Genisys is going to become the Back to the Future II of the Terminator franchise, which could have been fun watching a different team of actors hiding on the peripheral while 80s Linda Hamilton was going about her day as a café waitress. In many ways, Genisys is akin to Jurassic World in the sense that it holds such nostalgic reverence for the source films. It repurposes the familiar catch phrases and even visually recreates several scenes that fans should recognize. However, that reverence has a limit because it isn’t too long before Genisys just chucks out the entire franchise canon and starts anew. Remember Judgment Day with Skynet? Now it’s… Judgment Day with Genisys. Okay, some things aren’t all that different. Discarding the established timeline of four movies, Genisys takes a path similar to the J.J. Abrams’ Star Trek films where it creates an alternate timeline that is not beholden to canon. One way of looking at this approach is that it frees you creatively. Another way of looking at it is that is abandons the stories that the fans enjoyed for decades. Neither approach is wrong; it just depends upon your personal perspective. The larger plot points of the Terminator franchise never captivated me; it’s all about preventing one very bad day that just keeps getting delayed. We’ve never had a story that takes place after Reese is set back in time. Genisys certainly has more surprises because of the new timeline; however, many of those surprises were spoiled by a cowardly marketing campaign that must have feared fan uproar. It’s not a bad idea if it didn’t casually destroy all the logic of the franchise.
Let’s just dive face-forward into the convoluted and troubling nature of the Genisys script. Needless to say, numerous spoilers of both the large and small variety follow.
There are certain storylines that are just never cleared up, the first amongst them is who is sending all these other Terminators back in time? We watch the T-800 model go to 1984, along with Reese, but Sarah informs us later that when she was a child a different T-1000 model attacked her family. Apparently Plan Kill John’s Mom was replaced with Kill John’s Grandmother and will likely soon be replaced with the even more surefire Kill John’s Great Grandmother. If we’re already sending Terminators even further back then why stop? Also, why can’t Skynet send more than one Terminator to the same time? Upon the point that Reese travels back in time, John is attacked by a Terminator Matt Smith (Doctor Who) and transformed into the human-machine villainous hybrid. We’re told this is a nexus point of time that is such a turning point that it’s altered the timeline. But why? It happens AFTER Reese is sent back in time, so why does it affect anything in the preceding past? How does this even, which happens again after Reese is propelled back in time, eliminate the entire established Terminator canon? Likewise, this Reese has a separate timeline so why would he have new memories? He never existed in this new timeline so the fact that he remembers new things doesn’t make sense.
This brings us to the centerpiece of logical fallacy, which is killer robot John Connor. I was never really that invested in his character to care that much that he was turned into the film’s bad guy. What I do care about is that Genisys just completely gives up in this moment. If he was just trying to stop Sarah and Reese from stopping Skynet/Genisys, that would be one thing, but John 2.0 is actively trying to kill his parents … before he is conceived. When it comes to time travel, we can accept some degree of suspension of disbelief with plot holes (more of those to come in just a bit), but John wiping out the reason for his existence is just too much. He half-heartedly explains his theory that they’re holdovers from another timeline, so they can just do as they like with no greater repercussions to their own pasts. Maybe, but there’s not two Sarah Connors in this timeline, so killing your mom is still going to negate all your evil robot business, son. With that the very drive of the main antagonist is compromised. With every new attempt to kill mommy and daddy, the film reminds you how this cannot work.
There are other less egregious plot holes but they still can be irksome. How about the fact that Sarah and Reese jump forward to 2017 to thwart Genisys, failing to give birth to John in 1984? He won’t be born yet to lead the human resistance against the machines, which kind of means just by jumping forward in time and delaying Johns birth, the machines have sort of won. When Sarah and Reese travel to 2017 in order to stop the launch of Genisys, why do they travel to within 24 hours of its launch? That’s pretty poor time management. And why hasn’t “Pops” been doing more to prepare for Sarah’s return. He spends thirty years working construction and building the offices of Cyberdine, but couldn’t he also have been sabotaging the company or at least the building? And if John Connor knew his parents were coming to 2017, why didn’t he do more to set up Genisys to withstand their counter attacks? Couldn’t he have had Genisys go online like the day before they arrived in 2017? If you know when they’re going to show up then you have no excuse to fall victim to people you otherwise could be trapping. Also, Skynet realizes that their real problem for never besting the humans is a branding issue? Did changing the name to Genisys really need to be part of the masterstroke? Why is everyone so excited for what is a glorified app that connects people’s electronic devices?
Much can be forgiven in action and comedy movies if they just go about doing their job and entertaining you, but Genisys can only do so much in that department. The action sequences are fairly mundane with the occasional impressive stunt. The problem is we’ve seen these sequences too many times and in other movies and Genisys brings precious little of its own action invention to the big screen. Until the third act, the movie is a series of chases and escapes. The best sequence is likely the hospital brawl between the T-800 and Robo-John as they wantonly destroy every wall within prime smashing distance. I know many in the fan community do not look favorably upon Terminator 3, and it admittedly has the lamest villain of the entire franchise, but the action sequences were memorable and developed organically and were nicely conceived. With Genisys, the action is too rote and familiar. It is competent but for me I found the action sequences to be too underwhelming in design and execution to forgive the film’s other sins.
I also can’t help but think that all three of the main actors were miscast for their parts. Emilia Clarke can do great things and showcases her range as a strong authority figure on HBO’s Game of Thrones. With the role of Sarah Connor, Clarke does a lot of running and barking but she can’t shake our memories of Hamilton. The part doesn’t play to Emilia’s strengths as an actress. Courtney can be a good actor (as seen in the first season of Starz’s Spartacus) but rarely does he prove this to be the case in films. I enjoyed his cavalier bully in Divergent, but he’s mostly a vacant presence in Genisys, gaping at all the changes. Then there’s the other Clarke who too has proven himself a capable and intimidating actor in films like Zero Dark Thirty. When he’s menacing he comes across as, dare I say it, too sincere, and when he’s meant to be inspiring he comes across as too phony. Are the performances the fault of the actors, the director (Alan Taylor), or the screenwriters (Laeta Kalogridis, Patrick Lussier) who gave them such little to do?
The film’s MVP is Schwarzenegger. I wasn’t expecting the 68-year-old former Governor of California to contribute this much to the film. I figured Arnie would be a small player and played for comic relief. He keeps asking if Sarah and Reese have “mated” since it’s their destiny. He is certainly played for welcomed comic relief but he’s also the fourth most important character in this reboot. He has a father/daughter bond with Sarah and it produces the closest thing to an emotion in the movie. There’s an ongoing joke that he’s “old but not obsolete” and it could be the tagline for the next Expendables film. With all the time travel tomfoolery, it was easier for me to believe the reason they throw out to explain why the Terminator is aging: it’s living tissue so it ages. Done. I’m fine with that. The older Arnold vs. younger Arnold fight is the major highlight of Genisys and a testament to how much better the de-aging CGI has gotten since the waxy young Professor X and Magneto in 2006’s The Last Stand.
Much like its ongoing star, the Terminator franchise is old but not obsolete, and even a disappointing movie reminds us just how much life can come from this series. It’s got a sense of fun that entertained me enough for one viewing. The characters and action sequences and iconic in our pop-culture, which makes erasing them from a new movie plot problematic. If you strip everyone’s fond memories of the first two Terminators and start over, what’s left? You can repeat some of the more memorable scenes (the Hollywood adage of “same but different”) but this does little other than make you remember how much you preferred it the first time (see: Star Trek Into Darkness). I wish Genisys had been more risky because so much of it feels far too safe, from the average action sequences, to the boring characters, to the ho-hum conclusion meant to set up a new trilogy of movies in this brave new non-Skynet world. I haven’t watched Terminator: Salvation in many years but I’m curious to see it again if for no other purpose than to determine which is the least of the Terminator films.
Nate’s Grade: C+
I’m going to take a stand right now and declare that Hollywood should simply stop making found footage movies. I don’t hate the subgenre itself, and in fact a found footage approach can be rather interesting if given proper attention and care, but that is just not happening nearly enough. Too often Hollywood execs view found footage as a hook and slap it onto a story that does not need to be told in this limited style. There’s no reason that a perfectly fine buddy cop movie like End of Watch needed a found footage angle, except that’s probably how it was sold. If you’re going to do found footage you better have a god reason why your characters are recording every moment, and most do not. You better stick to the principle that the only viewpoint is from the camera, and most do not. And you better stick to the limitations of this viewpoint, meaning who is editing these things after the fact and adding popular music to make montages? Found footage is too often underdeveloped in approach, a lazy selling point because “the kids” today like documenting themselves doing everything. But really, can you name the last found footage hit? The Paranormal Activity franchise is on the downturn and the last critically lauded one was 2012’s Chronicle. Don’t just stop making found footage movies because they’re too often lackluster; stop making them because the public has grown indifferent. Now, with all that being said, the time travel flick Project Almanac proves once again to be a film that never needed to be found footage to work. As far as January releases go (usually a dumping ground for studio bombs) it’s better than most, but the poorly titled sci-fi drama wastes its premise on the myopic doldrums of youth.
David Raskin (Johnny Weston) wants to get into M.I.T. but his hard-working mother doesn’t have the money to make this happen. He discovers an old video of his seventh birthday party and is shocked to see an image in the background that resembles him as a teenager. He and his friends, Quinn and Adam, investigate the video. They enter the basement lab that used to belong to David’s father, until he died in a car accident shortly after that birthday recording. There they find plans for a time machine and the boys busily go to work assembling it, perfecting it, and charging it. Jessie (Sophia Black-D’Elia), a popular girl at school, stumbles into their first experiment and becomes part of the group. They have to keep this a secret and they must only travel back as a group. The freedom and possibilities are exhilarating, but soon enough David discovers a spiral of consequences that are difficult to correct without scrapping everything.
From a structural standpoint, this movie gets pretty lopsided and completely misuses the possibilities it established even as it arbitrarily throws its own rules out the window. Project Almanac takes far too long to get the time machine working. The teens discover the manual but it takes almost the complete first act before they successfully travel in time. Why do we have to wait a full 30 minutes and watch trial after trial? It’s not exactly like the audience demands a sense of scientific accuracy. Once the teens do travel through time, they set their sights very low: pass a test, get revenge on a bully, win the local lottery, and go to Lolapalooza. There is the limitation of only going back three weeks into the past, which eventually disappears, but could these kids not aim higher in their goals? When they do go to Lolapalooza, the movie drags and drags, and it’s here where I started to theorize what became of this film (more on that below). Once we come back from the festival, David decides to jump back alone to stop himself from blowing his opening with his crush, Jessie. However, there are disastrous consequences stemming from this and he has to debate whether to undo his good fortune with Jessie. Want to know what those consequences include? Seventy-seven people dying in a plane crash. Our main character seriously agonizes about keeping his new girl or the lives of seventy-seven people. And what would he lose? It’s not like he can’t be suave around Jessie ANY OTHER TIME. All he has to do is say something and kiss her. The hesitation and struggle over this is comically absurd, but the struggle illuminates where Almanac could have gone. These teens could have used time travel to save lives, but I guess that’s not as fun as seeing Imagine Dragons backstage and dancing.
Another problem is that, from a time travel standpoint, this stuff doesn’t really follow its own rules. The gang goes back at several points to repeat the same goal, but at no point do they run into different iterations of themselves. If they keep going back to fix things, and fail, and then go back again, that’s a continuation of one ongoing timeline, not a do-over. Time doesn’t reset. With every time travel story there’s the nagging nature of paradoxes but Project Almanac just ignores them, hence the lack of doppelgangers. At one point, Quinn even seeks out his past self to pull a prank, which sounds really stupidly dangerous from a space-time continuum standpoint to me. The movie ignores paradoxes… until it doesn’t. The entire third act is about the consequences of paradoxes, and now all of a sudden it matters. That doesn’t work. The main third act conflict is David not wanting to lose his girlfriend. He keeps jumping back to fix this and fix that but it’s all to save his girlfriend, which is pretty dumb, as I‘ve pointed out already that Jessie could still decide on her own at any point in the future to be his gal. Then there’s the conclusion, as we all know that we have to get back to that birthday party at some point. I consider myself a smart man but the end doesn’t make any sense because (spoilers to follow) it invalidates the timeline that we witnessed. David makes it so the events will not happen and the machine will not be constructed. But why is there evidence? Why is there still a tape detailing this whole process? It should be wiped.
Requisite found footage griping: why do they record every damn thing in this movie? The gang even breaks into their high school to steal hydrogen canisters from a locked science lab. Why would you record your crime spree? Why would you record people just driving in cars or walking up to school? Why would you record any of this? How do you clearly pick up audio from two people at a distance, mind you, at a freaking outdoor concert with lots of noise to cancel out any discernible dialogue?
There are moments that I really liked, flashes that show how much fun or even clever Almanac could have been under other circumstances. One of these moments involves Quinn going back to save his grade. Originally he failed his chemistry presentation, so he thinks he’ll easily pass thanks to the foreknowledge that time travel offers. He goes back, lists the first ten elements on the periodic table, and then his teacher asks him another question he wasn’t prepared for. He goes back, prepared for the two, and then the teacher asks another he wasn’t prepared for. Over the course of going back, he is actually forced to study to prepare for this presentation, and so even though he thought he would use time travel to be lazy, it forced him into doing what he should have done in the first place. When they go back to win the lottery, they accidentally write down one wrong number, so their first jackpot prize isn’t the full amount. They bicker about going back, whose fault it was, and then the film cuts immediately to them holding the full amount in a novelty check. All the characters are devoid of excitement, because that excited moment of revelry already happened, and now this is just an exercise to get over. The photographer chides them to be more excited. That is a fun moment. The characters are rather likeable. There’s another moment where Jessie realizes that David went back to fix a slip-up so they would end up together. And she reacts exactly how she should, wounded and mistrusting. How can she trust what he says now? How can she not doubt every moment being carefully pre-programmed for a desired result? She was manipulated. This confrontation was missing from About Time where Rachel McAdams would have learned that her charming husband traveled back in time dozens of times to perfect his courtship, thus manipulating her own sense of choice. Poor Rachel McAdams never finds out, which seems like a completely blown dramatic development, and lives in cherished ignorance instead. At least Jessie gets to know the truth and behaves naturally. There are other little moments that are fun but they are distractions from what could have been.
Allow me to do some serious speculation about Project Almanac’s own past. This film was originally supposed to come out a year prior hence why every date is referenced as 2014. MTV Films expressed some interest in the movie and it was shelved and likely retooled. Except with time travel films, retooling can be pretty monstrous with its carefully placed plot beats. Here’s what I think happened. Originally, the third act was all about David going back to save his father from dying in that car crash. He likely does but there are dire consequences, and so he keeps going back to try and mitigate the negative repercussions while still keeping his father. Doesn’t that sound like a much more emotionally involving storyline? He’s got far more personal stakes in this scenario than simply losing his girlfriend who he can regain. He can’t regain dear old dead dad. It seems preposterous to me from a screenwriting standpoint that they would introduce a deceased parent and not use time travel to save said parent. It’s the ultimate setup. Instead, with MTV attached, we got to keep things lighter and more appealing to the carefree fun of youth, and so the gang goes to Lolapalooza instead where they can watch rock bands. I think MTV came in and jettisoned the third act and the direction of the script, imposing the festival, and reminding people how music is essential to being young and free and alive. I can’t say whether it’s MTV’s influence or producer Michael Bay, but there’s a slew of product placement from start to finish as well. I have no proof of any of this but I think there’s something to my conspiracy theory.
If you needed any other example of how close Project Almanac would uphold to its own sci-fi rule system, a character asks a good question about how they can understand something, and David says, “I’ll tell you later.” Hey, you want to know something important, just wait, where it won’t be answered. The found footage aspect brings nothing to the film, is poorly integrated throughout, and just plain unnecessary. The plot is too underdeveloped and lacking ambition, using the miracle of time travel to party in such limited ways. The concluding half feels too low in stakes and obvious in conclusion. Time travel is all about the untold possibilities, and Project Almanac will ultimately fall in that territory, a somewhat amusing but mostly unfulfilled sci-fi film that should have gone back to the writing stage a few more times.
Nate’s Grade: C+
Disney’s first adaptation of a Marvel property, it’s essentially a superhero origin tale mixed in with the “boy and his robot” formula borrowed from The Iron Giant. The story is fairly predictable but charming and unafraid to deal with loss and grief. The real star, though, is the inflatable robot Betamax (voiced by Scott Adsit), whose unfailingly optimistic and helpful nature is a loveable addition to a genre plagued with doom and brooding. The action sequences are colorful and well developed and paced. It’s an agreeable pilot film for a new animated franchise, and the characters are likeable and fun while still having enough emotional resonance to make the hard choices of sacrifice hit you in the gut. It’s a welcome change of pace to have a character interested, first and foremost, in the mental health of others. You just want to hug Betamax (parents, your children will be begging for the toys). The plot does follow many similar plot beats of the superior Iron Giant but this film is still enjoyable enough on its own terms.
Nate’s Grade: B
I’ve always been one able to separate the art from the artist, so while Tom Cruise may annoy people in real life because he jumped on a couch one summer, that doesn’t halt my enjoyment of the man’s movies. It seems with every new Cruise vehicle that under-performs at the box-office that I must be in the minority. Cruise hasn’t had a hit to his name since 2011’s suitably awesome Mission Impossible: Ghost Protocol. Both Oblivion and Jack Reacher, perfectly solid action movies, failed to make over $100 million domestically, further calling into question the drawing power of Tom Terrific. It seems that his latest, Edge of Tomorrow, is going to suffer a similar fate. This is a shame. As my critical colleague Ben Bailey said in his own review for the film: “Edge of Tomorrow might just be the most critically acclaimed box-office bomb of 2014.”
William Cage (Cruise) is chiefly an Armed Forces PR flak. He goes on TV to push the talking points of the United States military, which is in a heap of trouble. Aliens have landed in central Europe and spread quickly, proving to be nearly unstoppable. There was one soldier who was able to lead a successful counter attack. The “Angel of Verdun” is Rita (Emily Blunt), a soldier Cage proudly chirps only spent a day in her mechanical fighting suit beforehand yet proved to be so deadly. After vaguely threatening a high-ranking official rather than report for a doomed counter assault, Cage is shipped to the frontlines as a deserter. In hours he and a motley crew of ground forces are flown to the beaches of France, where the aliens will slaughter them. In the firefight, Cage is covered with alien blood and gains their special power. The reason the aliens have won every battle, save one, is because they have the power to reset time. They learn from their errors, which is why they always anticipate humanity’s attacks. Now Cage has this power. Every time he dies, the day resets and he starts over, trying once again to survive. The only person who understands him is Rita, who once had the same power. Together, with some extensive training, they may be able to thwart the alien invaders for good.
Edge of Tomorrow is the ultimate video game movie, and while I would normally mean this in a pejorative sense, it is actually a compliment. With every death, Cage gets to start over, looking for a way to complete the next stage of the next level, learning from his costly mistakes and hoping to get to the boss battle that usually closes the level. From a structure standpoint, it’s a pure video game, albeit an older sidescroller (remember those, kids?). The visuals and mechanical battle suits also further support the video game comparisons. But really, Edge of Tomorrow is Groundhog Day meets Starship Troopers but brilliantly executed. There is something deeply satisfying about the Groundhog Day formula, namely getting seemingly endless chances to fix one’s mistakes, to try out new paths. It’s also inherently satisfying as an audience member because you watch your hero fail time and after time but they’re still active, they’re still trying to achieve a goal, or a new goal, and thus when they do succeed it’s even more triumphant and gratifying. We get to learn alongside our protagonist. Also, it allows the narrative to explore new material without going stale. In most stories we have one set path, but in films like this one with a time loop, it’s like we get to see all the wheels-within-wheels, the stories just offscreen happening simultaneously. It opens up the world in more interesting and playful ways, providing more payoffs than just one set narrative destination. We get assorted answers to our “what if”’s. Plus we get more screen time with Bill Paxton (2 Guns) as a comically hardass master sergeant. Edge of Tomorrow mines all these areas expertly. This is a movie that embraces the possibility of its sci-fi premise. It’s constantly clever, fast-paced, lively, and expects its audience to keep up with the pace.
It’s great to see director Doug Liman flex his action-thriller abilities again, ineffective or dormant since 2005’s Mr. and Mrs. Smith. The man has an innate ability to orchestrate action without losing sight of character. The beach invasion sequences have plenty going on, enough so that you won’t be bored after multiple trips, and unlike last summer’s disappointing Elysium, this is one movie that knows how to make proper use of a mech suit. These suits don’t look that impressive but they pack some mighty firepower. It’s rather cool when Cage, after a litany of failed trips, has the beats of combat to memory, knowing to shoot in this direction at the right second. It’s like watching a man harness the omniscient power of God (“I said I was a god. Not THE God.”). Under Liman’s guidance, the action is big and exciting and fun, more so than any other Hollywood action movie I’ve seen this year (The Raid 2 is still in a class its own).
The action sequences and special effects are all relatively good, but it’s just the sheer fun of the movie that makes it special for a summer would-be blockbuster. It’s like you get multiple movies smattered together but the eye is always forward to the goal, taking out the alien brain/host. The structure is almost foolproof: by the end of Act 1 he gets the time-tripping powers, and by the end of Act 2, he loses them and the heroics to close the movie have to count for real. I wish the final boss battle didn’t happen to take place in the bowels of a famous landmark/destination, but I suppose Liman and company needed a change of pace from all the beach activity. While the movie covers plenty of ground repeatedly it never feels old or directionless; while it has its share of sticky exposition and silly plot mechanics, it never overwhelms the story or the entertainment factor. The basics of who the aliens are, how they attack, what their magic blood does, what the rules are for utilizing said alien time-repeating power, you would imagine that they would be too silly or bog things down, but they don’t. Except for the very end (the concluding two minutes), the movie plays within its own system of rules. That also means no unrealistic romantic entanglement. Sure we expect movie stars to fall for one another, especially in peril, but for Rita, every day is the first day she’s ever met Cage. He develops feelings for her but she credibly keeps thoughts of romance at bay.
It’s also a mordantly mirthful movie. Cage can only reset when he dies; if he is just wounded and passes out, he’ll lose his special reset power. So every insurmountable roadblock, wrong choice, or crippling injury must be met with one conclusion, namely Cage being snuffed out. Rita carries out most of the executions in the second half, with a blasé sense of routine duty, like a plumber fixing a clog. It doesn’t really get old and Liman utilizes montage well to give the comedy an extra punch. It lightens a movie more or less centered on human annihilation and mortality. And for the legions of Tom Cruise haters, there’s got to be some degree of entertainment value in watching the man die again and again and again and, well you get the point.
Cruise ably shows again that he is more than capable of carrying an action film (he’s over 50 now too). The man still has enough energy and physical stamina of an action hero in his 30s, and his charisma is still there in spades. It’s also interesting to watch Cruise play a cowardly character. I should have expected it considering that Cage’s arc has to start somewhere before he becomes the super soldier. However, the movie would never have been as good if Cruise didn’t have a strong leading lady, and the surprisingly buff Blunt (Looper) is an excellent match for her costar. She’s tough and can beat the snot out of you. Just her very walk exudes confidence and determination (is it too late for her to be Wonder Woman in the next Superman film?). Having walked in Cage’s shoes before with the time-replay power, she has an extra weariness to her, a certain devil-may-care attitude, especially in battle. The two actors make a winning team and Cage’s recruitment of Rita is another mission with another worthy payoff.
The original title was All You Need is Kill, based on a Japanese graphic novel, and I can’t help but think how much of a better, striking title that is to describe this movie. It’s a wonderfully entertaining movie, with its action spectacle tempered with an intelligence rare for a summer blockbuster that doesn’t have Christopher Nolan’s name attached as director. Here is a playful sci-fi movie that doesn’t downplay its sci-fi, doesn’t dumb down its plot, and explores the richness of its world one dead Cruise at a time. It’s clever and satisfying and brings all the visual fireworks you’d demand. It’s a rotten shame that Edge of Tomorrow appears destined for the cinematic scrapheap. We need more movies like this one. Reverse the tide people and see this movie on the big screen while you can. It’s everything we want in a summer blockbuster fully realized.
Nate’s Grade: A-
Ever since Marvel’s Avengers destroyed the box-office in 2012, every studio with super hero franchises has been looking to follow suit. It’s not just about comic book franchises; it’s about building a comic book universe. It’s been a long dark period for the X-Men ever since the regrettable 2006 debacle The Last Stand, which callously killed characters, butchered others, and botched the most famous storyline in the history of the comic. In 2011, Matthew Vaughn proved there was still life to be found in the franchise with his terrific 60s-era prequel, X-Men: First Class. Now, post-Avengers, Fox is salivating at combining the past X-Men and the present X-Men into one colossal movie with a colossal budget. Back on board is director Bryan Singer, the director of the first two X-Men films and the man who helped kickstart the modern superhero era. If that wasn’t enough riding on the film, X-Men: Days of Future Past also follows the second most famous storyline in the history of the comic.
In the horrible future, killer robots known as Sentinels hunt down mutants. These are the invention of Dr. Boliver Trask (Peter Dinklage), a military scientist who was killed back in 1973 by the vengeful shape-shifting mutant, Mystique (Jennifer Lawrence). The murder convinced humans to subsidize Trask’s killer robot plan of defense. Thanks to experiments replicating Mystique’s mutant ability, the Sentinels have the ability to adapt to any power, turning them practically indestructible. In the future, the Sentinels are eradicating all mutants, mutant sympathizers, and eventually human beings. Magneto (Ian McKellen) and Professor Xavier (Patrick Stewart) have teamed up with a small band of surviving mutants, including Wolverine (Hugh Jackman). Thanks to the phasing powers of Kitty Pryde (Ellen Page), they can send Wolverine’s consciousness back to 1973 so that he can prevent the Trask assassination. The only ones who can help Wolverine is the younger Xavier (James McAvoy) and Magneto (Michael Fassbender), former mentors to Mystique. Except Xavier is a recluse and strung-out on drugs to dull his powers and Magneto is locked away underneath the Pentagon.
The X-Men films have always had a topical advantage to them that provided a weightier sense of drama than your typical story about a reluctant soul blessed with amazing powers. The mutant allegory automatically applies to any sub-group facing oppression mostly through fear and ignorance. What other superhero franchise has two opening scenes in a German concentration camp? The stakes are even larger with this movie because of the Horrible Nightmare Future that must be prevented. Now we all assume said Nightmare Future will be avoided by film’s end, so the movie provides a proverbial reset button that the filmmakers can have fun with, and they do (look out future mutants). Excluding the Nightmare Future framing device that becomes an unnecessary parallel storyline, the majority of the film takes place in 1973. If X-Men: First Class tapped into the groovy optimism and “take me for what I am” sense of social justice of the time, then this film certainly taps into the disillusionment of the 1970s, where the promise of reform and hope morphed into anger and cynicism (hey, that’s like us today!). This loss of innocence is typified in Mystique, who becomes the central figure of the movie in many ways. Her seething desire for vengeance is what animates her, as well as the pain of betrayal from the men closest in her life, as well as the world who once held such promise. Also, Jennifer Lawrence (The Hunger Games) has become one of the biggest female stars on the planet, so it makes sense to bolster her role. The central conflict is stopping an assassination, one domino that leads to many others, but it’s emotionally about Mystique having to confront her feelings of hate. It’s another platform for the ongoing conflict of perspectives between Xavier (restraint, tolerance) and Magneto (strong defense, eye for an eye). But as I found in First Class, it’s hard not to agree with Magneto as human overreaction leads to rash and thoughtless actions, like Horrible Nightmare Future.
That’s not to say that X-Men: Days of Future Past fails to deliver when it comes to the popcorn thrills and action highs we crave in our finest summer blockbusters. The action set pieces are large without dwarfing the characters, playful and imaginative without losing a sense of edge and danger. I loved how the character Blink (Bingbing Fan) would utilize her mutant power of opening portals as a fighting strategy. It makes action sequences so much more inventive and visually exciting to throw a series of portals. The pacing is swift short of the second half of Act Two, gearing up for the climactic showdown in D.C. that dominates Act Three. The time travel story starts with a lot of exposition but it gets smoothed out as it goes, the rules of the story fall into place. Every action sequence hits, some admittedly better than others, but it’s the small touches that Singer injects that made me smile most. I enjoyed Magneto pointing a gun, being toppled, but still using his power to have the gun fire in midair. I enjoyed the animalistic nature of the Beast/Wolverine brawl. Jackman is looking even veinier than usual in his bulked out form. Thankfully the fish-out of-water timeline jokes are kept to a minimum. Wolverine is the perfect glue to hold both timelines together. And then there’s that standout Pentagon prison break sequence (more on that later). Singer might not have the most natural instincts developing and staging action, but the man is a surefire talent when it comes to staging eye-catching visuals (I would say the same about Christopher Nolan). Even his unfairly maligned Superman Returns is proof of the man’s cinematic gifts. As far as entertainment value, this is right up there with X-Men 2. I still view Vaughn’s savvy First Class as the best X-film of the bunch, which has only gotten better the more I’ve watched it.
And if that wasn’t enough, Singer’s new film does what every fan has been hoping for: (spoilers) it erases all the crummy X-Men movies, namely 2006’s Last Stand and the first Wolverine solo effort, from the official timeline. It’s time to start anew, toss out the old stuff nobody liked, and forge ahead with a new unified timeline. There can be two parallel X-Men franchises, one present/future and one with the prequel casts, and they can go on forever as desired, or until the prequel cast prices itself out. In one fell swoop, Singer and company have reset the mother franchise and given fans new hope about the possibilities. Make sure to stick around to the very end of the credits for a scene that indicates directly who the next major villain will be in the 2016 sequel.
Let me take time to single out just how expertly Evan Peters (TV’s American Horror Story) steals the entire mutant-heavy movie. First, he’s the most comically attuned character, which is a nice break from how serious, and rightly so, every character is so often. Quicksilver provides a whole new jolt of entertainment, and when he checks out after the prison break sequence you’ll dearly miss him. The character is a rapscallion (as my late grandmother might have termed) that enjoys using his super speed powers to mess with people, to test his limits, to see what he can get away with, and a Pentagon jailbreak is right up his alley. Ignore the silly yet period appropriate outfit and ignore what initially seems like Peters’ smirking self-involvement from trailers and ads. When this character is onscreen the movie has a joyful sense of irreverence. He is instrumental to freeing Magneto and the onscreen depiction of his super speed is the best illustration of the power ever conceived in film and TV. There is a segment sent to Jim Croce’s “Time in a Bottle,” and some wonderful special effects, which is just so playful, so giddy, and so cool that it very well might be my favorite moment in any superhero movie… ever. It is definitely an applause-worthy moment and my audience responded in kind. Quicksilver is a perfectly utilized supporting player in a movie stuffed to the gills with characters.
The time travel geek in me has a few quibbles with the parallel lines of action from past and present. Wolverine’s consciousness is sent back in time but he film plays out like it’s happening simultaneously to the events of the future. So if Wolverine is pulled out in the middle of the movie, he’ll have failed his mission to change the future, even though by going back in time he’s already, blah blah blah butterfly effect. Anyway, I understand how they want to make the future story have a sense of urgency but it’s not like waking Wolverine from a dream; the times are not happening concurrently. He’s in the past, meaning that the moment he goes back there, the future will already be altered due to the consequences of his actions, for better or worse. There is no race against time to keep his consciousness back in time until he complete his mission. I can see why they went this route for a summer blockbuster, but that doesn’t quell the quibbles.
X-Men: Days of Future Past is a time-hopping, unabashedly fun time at the movies; well as fun as preventing nightmarish futures built from the consequences of oppression and prejudice can be. With Singer back in the saddle and the bridging of the two X-Men universes, the series is back on track and once again the promising font of stories and characters. The newest X-film is one of the most entertaining, funny while still being dramatic, and while burdened with the largest cast of any super franchise, finds notable moments for its characters big and small to remind us that these people matter. While less philosophical and funky than First Class, this is one of the best films in the franchise, on par with X2. The action sequences and visual eye-candy are great fun with some inventive and memorable touches. It’s also nerdy fun getting to watch the past and present interact, and for many this is their first return since 2006’s crappy Last Stand. It’s not a perfect movie; I wish there was more early Sentinel action, I wish Dinklage had much more to do, and I wish that the plot didn’t so transparently hinge on Xavier not having his powers. The slate is clean and all X-Men fans can breathe a sigh of relief. The future is once again rosy. The X-Men, and not just Wolverine, are relevant once again.
Nate’s Grade: B+