By Ryan Milowicki
With three tentpole Marvel superhero films coming out in two months, I feared that X-Men: Days of Future Past would have a nearly impossible task in replicating the success of the Captain America and Amazing Spider-Man sequels which preceded it.
My worries were quickly quelled however, once Days of Future Past started with a bang and never let up on its nearly infinite energy.
Bryan Singer’s return to the franchise he began was long overdue, and he delivers to the fullest, making this new installment one of, if not, the best entry in the X-Men canon. With an uncanny ability to mix top-notch visuals and choreography, much-needed self-aware spurts of comic relief, and moments of genuine feeling, Days Of Future Past succeeds mightily in reminding us why everyone’s favorite mutants remain an evergreen attraction.
With Earth reduced to a near-lifeless crisp by the formidable mutation-adaptable police robots called Sentinels, the surviving members of the X-Men (including some familiar faces from the original trilogy) hatch a desperate plan to send Wolverine back to 1973, the moment in time where the destructive Sentinel plan was set into motion by the US government. Upon arriving, Wolverine faces a multitude of lofty and urgent tasks, including the reconciliation of Professor Xavier and Magneto, as well as dissuading Mystique from carrying out the assassination which set everything in motion.
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