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Saturday, 24 May 2014

Reel Reviews: X-Men Days of Future Past

Magneto's Movies

Reel Reviews X-Men-Days of Future Past

Release Date: 23rd May 2014

Director: Bryan Singer

Cast: Hugh Jackman as Logan/Wolverine, Jeniffer Lawrence as Raven/Mystique, James McAvoy as Charles Xavier/Professor X, Michael Fassbender as Erik Lensherr/Magneto, Nicholas Hoult as Hank McCoy/Beast, Peter Dinklage as Boliviar Trask, Halle Berry as Ororo Munroe/Storm, Ellen Page as Kitty Pryde/Shadowcat, Shawn Ashmore as Bobby Drake/Iceman, Daniel Cudmore as Peter Rasputin/Colossus, Anna Paquin as Rogue, Omar Sy as Bishop, Evan Peters as Pietro Maximoff/Quicksilver, Josh Helman as Major William Stryker, Fan Bingbing as Blink, Booboo Stewart as Warpath, Lucas Till as Alex Summers/Havok, Evan Jonigkeit as Toad, Mark Camacho as President Nixon, Kelsey Grammer as Beast with Famke Jansen as Jean Grey and James Marsden as Scott Summers

Genre: Comic Book

Score: 9.6/10 (w/out vfx 9.6)

Pros: -Blending the fun and comedic brilliance of The Avengers and the gritty drama and stakes of The Dark Knight Trilogy with the pathos that define X-Men, comes possibly one of the greatest if not best super hero film of all time
           -The film handles its information with necessary exposition and gets the pacing moving briskly
           -The plot provides the opportunity for some fun world hopping, the writer weaves in historical elements with dexterity and balances the different tones and themes with a masterful hand
           -There's five different well developed character arc, with one whole thematic concept at its core; Magneto and Charles battle for Mystique's soul and towards it the larger goal to save the future. This truly feels like a Mutant if not X-Men film as Wolverine becomes a supporting player and passes the torch onwards
           -Singer is on form as he masterfully handles a massive cast and balances between the tones of the film as well as the different timelines. He's a director who clearly understands the themes that are prevalent within the X-Verse. He also resets the canon of the film as best as he can giving us two movie ripe continuities.
           -Never is the drama bogged down by the action, which is mind blowing and freaking epic. From the fights scenes to the set pieces, nothing seems cliché e.g. large scale destruction. Features an incredible scene with Quicksilver
           -An all star cast that never falters for one moment. James McAvoy is marvelous especially when confronted in the emotional moments. Hugh Jackman is Wolverine, plain and simple.  Fassbender takes his Magneto to a darker route and presents a the character with an exciting edge. In the final moments McKellen and Stewart remind you why they're so revered as thespians. Lawrence rounds out the leads with a sinister intensity and deep vulnerability
           -The score is majestic bringing out the tense nature of the action and the haunting aspect of the future. A killer soundtrack accompanies it, enjoying the influence of the 70's
           -It's money well spent by Fox as this is the best visual effects they have gotten on celluloid

Cons: -It's play with the concept of time is loose and without ramifications
           -Even with the heavy exposition, sometimes the film can get confusing for a disengaged audience and one that hasn't focused on prior franchise films
           -The human element of villainy is undercooked and Trask's motives don't make sense or resonate. Yet Singer is smart to keep his involvement short 

Best Scene: Quicksilver breaking Magneto out from prison, hilariously effective and when Young Professor X confronts his older version in the future

Best Performance: James McAvoy as Charles Xavier/Professor X

Best Dialogue: 'Logan, I was a very different man. Lead me, guide me, be patient with me'-Old Charles Xavier
                         'Patience isn't my strongest suit'-Wolverine, good old Wolverine never forgets to be snarky in a dire situation

Coolest Comic Book Reference: Quicksilver quips that his mother knew someone who control magnetism, a clear nod that Magneto might just be his father like in the comics
                                                     Young Xavier uses his powers to see the future and meets his older self, this has to be done by the two Xavier's meeting in the astral plane. A place in the comics where telepathic mutants can communicate 

Like with previous X-Men films, DOFP is far from a faithful and perfect adaptation of its far superior comic book counterpart. Yet the film was bound to be a magnum opus simply thanks to its massive brilliant cast and Bryan Singer's return to the director's chair.

*Do Note, I will not comment on Singer's current predicament and allegations towards him, I am reviewing the film as a movie and the efforts he put in as a director, dividing both the professional and personal aspects of his life*

When things were looking down after Batman and Robin, it was Marvel that ushered in the Comic Book Movie renaissance with Blade. Then a grizzled clawed Mutant came along and the X-Men franchise was born, but so was the CBM Mania. As such it's terrific to know that the films that began this box office dominance we see today, is the film that could possibly be the best comic book movie of all times. I mean it holds a freaking 94% on Rotten Tomatoes at this point.

So to go into details, here's why the X-Men are the best comic and are dominating this summer and possibly more summers to come whether it be Past, Present or Future...(bad joke)


As mentioned the film's story is a loose adaptation of the same named two part tale from the X-Men comics by Chris Claremont and John Byrne. In this one, the future is a bleak place where adaptable robots the Sentinels rule, herding mutants and even humans in concentration camps. Professor Xavier (Patrick Stewart) has formed a resistance against them and comes to know that Kitty (Ellen Page) has the ability to send a being through time, she can send someone to stop the Sentinel program from ever being born. Multitude's of exposition explain how Mystique's (Jennifer Lawrence) actions in the past caused the Sentinel program to come to fruition and birth the future as they know it.

Wolverine who has the healing ability to survive the experience is sent back to the past and as the dialogue says he must do what Xavier once did for him; make the younger Professor Xavier (James McAvoy) hope and realize the potential he has so as to stop this dark future from ever coming to fruition.

With the dual time lines and layered back story, the film requires tons of exposition. Normally this spoon feeding technique would be a negative, but for a film with such an ambitious concept it's a mandatory requirement and helps to keep the viewer invested. Even as such, at times screenwriter Simon Kinberg's friendliness to the franchise source means that a lot of people will be confused if they haven't at least watched the original trilogy and it's subsequent spin-off's.

Barring that, Kinberg does a brilliant job in giving the film it's own unique touch. As a director you can see the influences Bryan Singer wears on his sleeve, but this doesn't prevent the screenwriter from making the plot his own.

There's a decade and more worth of difference between the original first film and this seventh in between-quel, since then a lot has changed about the sub-genre. Marvel has infused such films with a comedic touch that is well defined as their own, while the Dark Knight Trilogy has elevated the substance and depth that superhero movies can have. As such this film takes upon the task of fitting itself in both worlds, it's something that a lot of other films tried most notable Amazing Spider-Man 2. Key word being tried.

Here Kinberg balances multiple tones perfectly. The fish out of water situation and many more elements of comedy bring much needed levity to a picture that is poignant and melancholic. The drama at the core of the film is elevated by some important stakes that the characters never forget to remind the audience about (necessary but admittedly a tad bit annoying).

There are multiple well crafted scenes especially in the human element of the story. Yet Kinberg has a grasp on the comedy and action as well, he gives the small cameo characters space to show off in the epic written fight scenes and is aptly supported by his director.

Yet as mentioned, the heart of the film is in it's lead characters. Unlike previous X-Men features and to satisfaction of worried fan boys, the film isn't all about Wolverine. Yes unlike the comics he is sent back in time, but this is a vehicle for the older cast through its leading man to spiritually pass the torch to the younger one.

Even then Kinberg never lets loose of the franchise player. A bit off mileage may have run out, but he builds upon Logan's immortality crisis from his previous solo film. When we see Wolverine in the future and even in the past, you can see he's world weary and broken by the death around him. The final scene back in a salvaged past highlights Kinberg's understandings of the burden the character will carry forward knowing that the other future was a reality.

In the past he also gives Wolverine a plot device to be peaceful, that initially sets up a comedic vibe but turns dark once he actually meets his former/soon to be tormentor in the form of a young William Stryker. It's a scene that lets us revisit the franchise's past history, but more importantly informs the battle scars Wolverine carries as well.

Basically the reset for the franchise happens within Wolverine's character arc. While the film might not have any ramifications shown just yet anyways, it has a happy ending for the character and the film that is well deserved

As I said he's a supporting player, heck he doesn't even feature in the finale of the climatic fight scene. The main plot of the film is Xavier and Magneto's battle for Mystique's fractured soul, so as to accomplish a larger goal.; save the future one way or the other. A great thing about the script is that with Jeniffer Lawrence's bursting stardom in between this film and First Class, it required her to have a meaningful and important character arc and role. As such this point allows the film to keep it's comic book villain and motive in place, as in the comic it was Mystique's vendetta that caused the same future to take effect.

Here Mystique struggles between her raising with Charles as the sweet and innocent girl she was in first class, and the deadly woman she can become from the original trilogy. It informs the two influences in her life and above all else crafts the theme of individual identity that goes hand in hand with the X-Men theme of minorities and their acceptance as unique people and a race.

Stretching her are two characters that have evolved in the decade between their fall out. At one side is Magneto, imprisoned in the Pentagon and brought to the heroic side for the sake of the future through a mind blowing escape sequence (talked about below). Kinberg unravels the emotional drive of Magneto very early on, establishing how this man has lost all form of his humanity at this point. It bases itself on the idea of violence breed violence, Magneto at this point has seen nothing but the death and demise of his people and a future equal to it scares him. It makes us sympathize with the character, by building on his and the world's history while defining his motives.

Yet the script never forgets that still at this point, Magneto is the villain of the piece. He's a man so far gone that he is willing to commit the genocide that happened to him and his people of both kinds. This gives the character an edge that the First Class's innocent ties never really allowed nor the Original Trilogies battle weary/experienced character fully explored. It makes him darkly comedic at one point to a raging storm by the end, that is a clear cut arc to develop from in the future films.

On the other end is Professor Xavier, basically the protagonist of the piece. Like with Mutants being a representation of minorities, there's also a power sapping formula in place for the drugs of the 70's. It's what numbs the pain and burden this broken man carries. He's given up his powers for his legs, so as to stop the voices in his head.

Reminiscent to Bruce Wayne in the opening act of Dark Knight Rises, Xavier parades around drunk and distraught in his mansion. It's a character virtually at his lowest and one as everything suggests; needs to hope again. Basically it's a Phoenix (pun intended) arc, for Xavier to rise from the abyss and become the man he is from the original trilogy.

It's full of pathos and provides the character with meaty scenes that have emotional stakes, he fights to find the hope Wolverine wants to provide him. He battles for Mystique's soul and wins in a manner that befits her, he confront his losses with Magneto but isn't made out to be a clean character. His actions as much as Magneto's equal to the pain their kind went through in the decade past their youthful exuberance to be a team. His face off with himself makes him realize the sacrifices he must make and the spirit he must have to not only secure a better past, present and future, but to be a better himself than he is and his future version is.

Essentially it boils down to a character saving everything and learning from the past mistakes he's made and the mistakes his original trilogy counterpart made. As future Magneto points out, they spent so much time fighting themselves and clashing egos that they forgot the destruction of the world at large.

It's a meta reference to the franchise, the inner struggle of the films destroyed the series continuity and the younger generation has a chance to reset it with Kinberg's pen.

Kinberg deftly handles the character not just her but for his supporting players as well. The final fight scene in the future has emotional heft to it and he plays on the history of the relationship of two older leaders of the race. Magneto's death in the future by the Sentinels and his subsequent final farewell with Charles is a moment of emotional strength, that symbolizes the two characters and their short arc.

The only missing element is a true motivation for it's other villain in Boliviar Trask, the good thing is future sequels can fix this and the film has a valid excuse to not focus on him.

A thing needed to be fixed was the canon and it is, but at the price of a time travel element that is played with fast and loose. It seems a bit too one note and terminator like yet can be forgiven, given that the screenplay has not overt plot holes in it like films of the genre.

Overall the films emotional depth and seamless tone outweigh minor problems in a smart fashion. Thus this become a film that is based on the strength of it's moving human moments and touches of comedy. At the foundation of it, Simon Kinberg's script relies on great character and for me as a viewer, that's what counts.

Score: 9.1/10


If Kinberg creates the important dual tone in his writing, then Singer balances it like no other. If Kinberg gives depth to his characters, then Singer evokes that humanity. If Kinberg establishes a precedent for great fights and scenes, then Singer visualizes them in stunning glory.

Basically what I'm getting at, is that the duo have separate jobs but work in a fashion that makes a tight and fluid film. For Singer it lies in execution, but not just execution but intelligent execution.

With two timelines, two versions of a franchise and a massive cast any director can be excused for faltering.  Yet Singer never lets go, his return to the genre and franchise is bolstered by a new found confidence in his abilities and his mixture of typical style with terrific substance. This is by far the best film Singer has directed in the genre and is as brilliant as his debut showing with The Usual Suspects.

He takes the dual casts and squeezes each drop of brilliant acting from them. You can see the comfort level he has with the older cast and it helps create that lived in feel with the cold and dank future setting. His work with the new lot shows a much tighter reign that he has on his actors then Matthew Vaughn, not once unlike First Class do I remember any of the two male leads slipping to their natural accents.

Like with Kinberg he also gets a grasp on the tone, he lets the writing and his actors free will in containing and presenting the drama. While he himself gives the comedy and comic elements a brilliant shine. An example of his terrific execution is in the Magneto prison break scene.

Quicksilver, a character ridiculed pre-release for his odd look turns out to be the surprise delight in this feature. His one action scene is the highlight of the film and will have you cheering and laughing through out. Slow motion is oft repeated in blockbuster action films but here it's necessary and fully earned with a mind blowing sequence.

As with the core themes of the X-Men in the comics, prejudice, self identity and coming of age, Singer has all of them in his grasp. As a gay man himself, he probably understands the issues that plague a certain kind of minority and the prejudice they face. It's not as symbolic as his previous tenures in the franchise, but it is important reasoning done when it comes to a film with villains created to hunt mutants. He also goes out of his way to make us understand the common factor between mutants and humans and highlight the evolution theories and extinction of one species for the next. This will come in handy when the sequels villain Apocalypse makes his presence known. 

An opening sequence of the future is a prime example of this, a mutant concentration camp where mutants and humans are rallied and killed in droves is haunting reminding us about the atrocities committed through history and defining character such as Magneto (remember his opening scene in WW2 from First Class) indirectly.

But it's not just these large scale scenes of despair, Singer nails the smaller character interactions down. He gets powerful conversations out of the plight plaguing his four/five lead characters. A defining moment is when young Xavier meets Old Xavier, a scene that while physically is odd, mentally binds the two versions of the character and redefines young Xavier's path and heroism.

There were three big gripes when it came to Singer's initial efforts in this universe.

The first being that he has no proper respect for the comic book materials, and while at its depth his films are similar to the comics on an important superfluous level their not. His vision tends to mock the source in a fashion that is disrespectful.

While he still holds true to his canon, here the above fact can be diluted. During the Quicksilver sequence he has the character joke about his mother, that hints like in the comics, Magneto might just be Peter's father.

Other such things include tidbits such as Mystique being the villain like in the original story. Or involving Kitty in the time travel aspect though not sending her back like in the story. There's subtle influences you can see from the comics like with Apocalypse, Ultimate X-Men and of course DOFP itself. The good thing is, these never clash with his outright influences from the likes of Terminator to even Looper.

The second gripe related to the first is that Singer has a huge man crush on Wolverine, such that the films have always felt more like Wolverine and his friends rather than true X-Men films. Now it's not like the film totally corrects his mistakes by giving depth to the underused likes of Storm and Cyclops, but it does keep its primary focus on the younger cast and lead trio. This is important because when the original cast were set to return, it felt like Singer would use them and shaft the First Class team he didn't direct.

More importantly Wolverine has an arc and importance to the main plot and goal, yet he isn't deep into the whole film. He's made into the torch bearer to pass the franchise to a new generation in some form. This is never more clear than in the climatic action sequence, where he is nowhere to be seen.

The third big issue with all previous films was that the action never felt like it could rival other franchises. Even the initial films felt tepid for its era and trapped by the influences of the then placed on a pedestal  Matrix film. Here Fox lets the purse string loose and the money pouring in is used effectively to create a grand scale superhero flick.

Ironically for a film full of heroes that are hated, this one doesn't feature the kind of set pieces that are high on body count and property destruction of innocent lives like The Avengers and Man of Steel.

There are magnificent set pieces and a finale which boasts a destruction of a whole stadium, yet nothing that questions the violence quotient. As mentioned, the Quicksilver prison break is a sizzling highlight. But then there's more.

The future fights are epic and allow Singer to give underused characters some epic moments. Blink is a personal favorite, whose powers are visualized in epic fashion and allow the mutants a leg up on the future sentinels. Iceman is visualized as he should have been years ago, Colossus equally wonderful to look at. Storm gets to show more power than ever before and Magneto has presence in both timeline fights. Bishop is a fun highlight, with a nod to the original cartoon. Those death scenes while retconned, are brutal looking and come close to topping the blood fest in The Wolverine.

Beast's style of transformation was unintentionally hilarious, but the effects made the action with him feel better and scary at time. Speaking of scary, the use of sentinels is intriguing and while they look nothing like their fearsome comic counterparts, they do get visualized with a powerful aura.

Once again, it's surprising to see Wolverine so underused in the action. He's actually but obviously presented as a chump when he faces the young Magneto, though his fight with the Sentinel was fun to watch no matter how quick.

Singer's shooting style also allows the adaptability into the 3D and IMAX views. The cinematography uses a great visual aesthetic in differentiating between the two era and the color palette's used bolster that idea.

In particular I like the final scene in the reset future, as the set design and shot gave the mansion an old homely feel that made any lover of the original trilogy feel as they are a part of the place. It's a respectful notion that is brought out. 

A few other things to round out. X-Men's costume departments are a bit up and down in the franchise. The future black suits are better this time since it's armor, and Wolverine's wardrobe there and in the past is much better thanks to the use of blue and yellow colors. There's a reason Quicksilver was derided initially, the costuming is odd though it does seem to fit the era and his scene actually beats that notion away. Speaking of the era, the 70's look both in costume and production is top notch though with the science needed there's bound to be errors.

Overall Singer kills it with this film. Once again I would like to reiterate that his personal issues don't take precedence in the review of his work. Whatsoever controversies and allegations involve him don't take away from the efforts he and his team have put into this film. 

Score: 9.7/10


With an all star cast at the forefront it's another genuine surprise to see that not one actor given their screen time respectively, slip up when it comes to performing.

Off the extended cameos of new additions, Fan Bingbing and Omar Sy are particularly memorable not just for their characters but the moments they get. Sy has a command over his body language and evokes the strength that Bishop has as a character. Fan gets some splendid action scenes and it's peppered by a touching death scene she puts all her emotion into.

Off the original cast, Berry here is not on screen for long but with a stronger Storm she makes a better impact. Shawn Ashmore's Bobby is a mere soldier but he also reveals great emotion when Kitty is in trouble, ditto for Ellen Page who is thankfully retained from the bland third film. Kelsey Grammer, Anna Paquin, Famke Jansen and James Marsden round out the cast with typical in character cameos that bring a smile to your face.

While never having the scope of their younger counterparts, Ian McKellen and Patrick Stewart show what they're made off in few minutes. Their very silent scenes together give the presence of their terrific chemistry and real life friendship. Stewart in particular is marvelous, especially when he confront his younger self. Just with his expressions he tells you the regrets he's had and the changed man he wishes McAvoy's Xavier should become.

Sadly Peter Dinklage (who just comes off an Emmy deserving showing on Game of Thrones) doesn't get much to do, but the charismatic performer does leave a mark and wish fulfillment for a future film.  With his scene being highlight, there's no doubt that Evan Peters is superb. He has great comic timing that establishes the excellence Singer brings forth in the Pentagon sequence.

Hoult is also a tad bit underused, but one scene with Wolverine shows how much emotion is pent up in the character and how the actor is so understated with him. His expressions toward Lawrence's Mystique develop on their relation from the previous film and give his pining a sad yet funny edge.

The real show stoppers as with their well developed characters are the four major leads. Hugh Jackman is now in a place where you cannot anyone else as Wolverine even if he is taller than the character. He sinks naturally into the roll and is smart enough to dial down his charisma and channel it into some great comic timing. He embodies the darker elements and emotional burden of the character brilliantly though, watch him in his final sequence when he confronts a resurrected Jean and meets Cyclops.  It's heartfelt and reminds you that the actor is in his element when it comes to emoting the drama.

Lawrence is magnetic on screen, she is smart to give Mystique the killer edge the films plot hinges on, yet she doesn't the roots of the character. You can see the nervousness that Mystique needs in the confrontation scenes, so as we have the best off both worlds; the layered girl in First Class and the bad ass of the original trilogy. This is much better than her slightly bland turns in the other Lawrence led franchise.

You can see Fassbender clearly relishes playing the no nonsense and conniving villain more than the tragic figure from the first film, initially he sets up the characters depth with dexterity. He presents his fight in a positive light and gives it the conviction it needs for the character to resonate.  It's by the end though that he threatens to steal the show. While it would have been a dull affair to have Magneto be the villain again, he does it so wonderfully that you just cannot complain.

His chemistry with both Lawrence and McAvoy is electric. The two males don't share the same amount of scenes that they did with First Class, but they still present a relationship that has evolved in the decade gone by but yet has the familiar essence from the first feature. With Lawrence you can just sense the animosity and sexual tension. He also has some fun moments with Jackman's Wolverine as they stand toe to toe as the bad asses of the feature.

But the best no doubt in this film is James McAvoy. The prequel allowed Michael Fassbender enough scope to make a break out, here this is turned around for the other male lead in McAvoy. Now I might be biased because of my love for the underdog. Which McAvoy is thanks to the star power of the other three, but I do believe his performance was out and out the best.

Four key scenes with four characters allow McAvoy the space to really present how far his character has fallen. He stands tall amongst his much more celebrated cast mates each time, especially bowling you over in his conversation with Patrick Stewart.

McAvoy peels the layers of his Xavier with a deft touch and in turn conveys the vulnerability and despair he has fallen to with expressive eyes and mighty dialogue delivery. Even without his legs in the second half, he gives a physically brilliant act that rivals Fassbender's previous attempt. The story conveniently lets the handicap crutches go and McAvoy takes the arc to new heights each and every time. It makes his redemption that much more compelling

It's hard for me to even say anything but no doubt this is one of the best performances by a leading protagonist, in a genre that often favors its villains.

Overall a cast packed with surprises and meaty roles come together and make for one of the best all round cast performances in tentpole cinema. 

Score: 9.9/10


In the music department, Singer follows the rules set by Vaughn's prequel yet brings in the old flavor of his trilogy. John Ottman's opening song is the main title from the Singer led original films and brings a sense of familiarity to the proceeding in the Future. It not only gives a grandiose feel but lets the viewer engage in an environment that on first viewing can be daunting, cold and distant.

His score encapsulates the stakes and emotions of the characters that have lost everything especially the down and out heroes of the plot, Wolverine and Xavier. It's marvelous what John Ottman does to enhance character for the plot, making his music the beating heart.

As mentioned the 70's feel like with the 60's in First Class isn't overt, yet there are instances where Singer and Ottman make sure the key music sensibilities of that era are felt. Whether it be in Quicksilver's preferences or the jazzier tunes in party scenes.

Overall Ottman returns to the film with a glorious old works and mixes it up with the period feel of the new to add an enticing score to an already enticing film

Score: 9.6/10


As I said before, Fox lets the money loose on this film like they never did before. Such that the visual effects not only blow away previous franchise efforts but a lot of the special effects we see in films of the genre.

The vfx team brings to life the mutant powers in fan boy glory. Blinks powers are mesmerizing to behold and a highlight of the morose future scenes. Mystique's powers look much better than before and in turn the Sentinels of the future while vaguely similar to Thor's destroyer, simply sparkle.

The action sequences between the lesser developed mutants in the future are already weaved brilliantly and the VFX makes them dazzle much more.

The film is shot in 3D and as such scene pop out and visuals sparkle making the film an exciting and engaging experience worth shelling the extra money for, even for IMAX if possible.

Overall none of the other X-Men movies compare in terms of visuals to this one. It's simply mind blowing and round out the film as an epic experience not to miss.

Score: 9.5/10


-The opening sequence prior to the credits, shows a boy with white hair running through the ruins in the future. He returns again when Wolverine wakes up to a secure future. This boy is presumably Nate Grey AKA The X-Man. In the comics he is the Age of Apocalypse alternate reality version of Mutant Cable, but is Scott and Jean's son unlike Cable who is Scott and Madelyne (Jean's clones) son. 

-The concentration camp in the future was shown as well, a callback to the original films with the Nazi camps. 

-There's certain things in Wolverine's apartment when he first wakes up in the past that are references

-A meta moment sees Erik in the future state 'We've been given a second chance'. This is not only mentioning the in film issue but the movies itself as DOFP becomes a refresher and reset for the original trilogy

-When asked to help Wolverine, Xavier remembers he met him before (First Class) and quips the fuck off line back to the clawed mutant in terrific fashion

-Mentioned a viral video, the JFK magic bullet twist is attested to Magneto. Instead its twisted again such that Magneto was trying to save JFK, why? because the President was a Mutant! It's a very deep issue when we consider First Class as JFK made a statement against mutants when they were first discovered after the Cuban Missile Crisis fiasco. 

-Quicksilver's basement is littered with references of the era

-When freeing Magneto, Quicksilver says his mother knew a man who control magnetism. An obvious reference to their relationship in the comics. At the end of the film when Magneto gives his speech, we see his mother looking on worriedly on the screen. Quicksilver also has a baby girl on his lap, either his sister Scarlet Witch or maybe even Polaris

-Mutants from the previous film are apparently dead, experimented on by Trask. Magneto mentions that Azazel, Banshee, Emma and Angel were killed or are dead. It's their deaths that motivates Mystique to assassinate Trask and bring the apocalyptic future to fruition

-Both Chris Claremont (the writer for Days of Future Past comic) and Len Wein (creator of Wolverine) make cameos in the film

-When Magneto heads off to retrieve his helmet, you can see Havok's costume and Angel's wings from the previous films

-When we see Hank's room, he is watching Star Trek on TV an obvious nod to the time travel element of the film

-An unsure Wolverine tells Hank he hope he doesn't have a child. In the comics Wolverine already has had a son, the villainous Daken

-When Wolverine sees William Stryker in the past, he begins to have visions of his coming future where he was experimented on by Stryker in Origins and X2

-The reset brings the dead characters from the original trilogy and tweaks the official canon of the film

-When Wolverine fights Magneto in the end, Magneto puts iron bars inside him. The shape they form is reminiscent to the look Wolverine had when Magneto pulled out the adamantium from him in the comics

-Same scene; Magneto faces the camera towards the president and his men at the White House lawn. This is a similar scene to the Ultimate X-Men comic, when Magneto televises Presiden Bush begging at his feet on the White House lawn

-The end credits teaser shows us a look at a young Mutant, this is En Sabah Nur AKA Apocalypse. His Four Horsemen (Death, War, Pestilence and Famine) watch him from a distance

'Nuff Said Bub

Aneesh Raikundalia

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