X-Men: Days of Future Past – The Rogue Cut (2014/2015)

2015 #96a
Bryan Singer | 149 mins | Blu-ray | 2.39:1 | USA & UK / English | 12

X-Men: Days of Future Past - The Rogue CutOne of the big stories in the run-up to this fifth X-Men film’s release last year (my previous review is here) was that returning cast member Anna Paquin, one of the leads in the original trilogy — certainly, she’s the audience PoV character in the first one — had been virtually excised from the final cut, her subplot deemed extraneous by director Bryan Singer, as well as screenwriter Simon Kinberg, who all but admitted he’d shoehorned her into the screenplay in the first place. Instantly, a director’s cut was mooted by journalists/fans, and almost as quickly Singer and co were on board. So that’s how we end up with The Rogue Cut, which probably has all kinds of bizarre connotations if you’re not aware Rogue is a character in the series.

It remains a bit of a misnomer even if you do, because it’s not like Rogue has a huge part to play. Her subplot is actually more of a showcase for Ian McKellen’s Magneto and Shawn Ashmore’s Iceman, as they rescue her (with a little help from Patrick Stewart’s Professor X) from an enemy-occupied X Mansion. From there, she takes over from Kitty Pryde (Ellen Page) maintaining Wolverine’s presence in the past. In the cut released in cinemas, Kitty kept doing what Kitty was already doing, which is certainly a smoother way of handling things. Kinberg was right: this subplot feels like it’s been half-forced in, mainly to give the future-time cast extra things to do.

This sequence is not the only addition, however; I’m sure this release would’ve been perfectly adequately dubbed an Extended Cut or Director’s Cut were it not for the fan/media focus on the Rogue portions, which earnt it “The Rogue Cut” as a nickname before it was adopted as the official name. In total, the new cut is 17 minutes and 10 seconds longer, though I believe Singer said there were some deletions too, so it may be there’s slightly more than that. Either way, it’s tough to spot everything that’s been added. There are extensions littered throughout — according to the Blu-ray’s scene select menu, of the extended cut’s 44 chapters, 20 include alternate material (including the end crawl, thanks to a mid-credits scene) and two are all-newRogue being Kitty (though the theatrical cut only has 40 chapters, so I’m not entirely sure how that pans out). Most must be teeny extensions, however, and I look forward to Movie-Censorship.com doing a report so I can know all I didn’t spy. Apparently Singer and editor John Ottman discuss the changes quite a lot in their commentary track, but I haven’t taken the time to listen to that yet.

The bulk do come in the aforementioned “Rogue rescue” sequence that has given this cut its name. However, it’s intercut with some new material in the 1973 segments: Raven/Mystique (Jennifer Lawrence) also visits the X Mansion, for a little tête-à-tête with Hank/Beast (Nicholas Hoult). Both have a knock-on effect later in the movie: having taken over from Kitty, Rogue is now present throughout the climax (not that it makes much difference, besides changing Magneto’s method of entry after he barricades them in), and a brief moment — a look, no more — between Raven and Hank in the past.

Oh, and Nixon says “fuck”. That must be new, because you’re only allowed one “fuck” in a PG-13 and I distinctly remember James McAvoy saying it.

So is this cut better? Well, no. Is it worse? Well, not really. It’s just different. On the one hand, here we have some extra fleshing out of Raven and Hank’s characters, more action for future-Magneto and Iceman, and a more decent role for Rogue — though her part still isn’t much cop, all things considered. On the other hand, it makes for a slightly less streamlined film, and the intercutting between past-Magneto retrieving his helmet and future-Magneto rescuing Rogue is built like it should have some kind of juxtapositional weight but, unless I’m missing something, it doesn’t.

Magneto and IcemanThe Rogue Cut is worth seeing for anyone who enjoyed the theatrical version — and, in terms of a copy to own, the Blu-ray comes with both cuts and more special features (though it loses all the extras from the first release, including a few more deleted scenes) — but, unless you’re a huge fan of Rogue or Iceman, it’s not essential.

As it’s fundamentally the same film, my original score stands.

5 out of 5


2014 In Retrospect

It was 100 Films’ greatest ever year in terms of sheer size, but it was also one of the highest-scoring too, with the most five-star ratings I’ve ever awarded and the second-highest average score to date. Now it’s time to look back over the list and ask: Which were the cream of the crop? Which were the dregs? And which significant new films did I not even see?

To top it off, you can make your voice heard by voting for your favourites (plural) in this year’s top ten poll. Exciting stuff.

So without further ado:

The Five Worst Films I Saw For the First Time in 2014

In alphabetical order…

Chicken Little
Disney are back at the height of their powers of late, at least as far as the box office is concerned, with the phenomenon that is Frozen. Things weren’t so rosy in the early ’00s, though, leading them to abandon traditional 2D animation for the burgeoning world of 3D CGI. Their first effort was this dross, instantly proving it wasn’t the style of animation that was the problem.

G.I. Joe: Retaliation
I only gave this two stars (as opposed to one) for two reasons: 1) the rather cool cliff-swinging fight sequence, which deserves to be in a better movie, and 2) because for some unknown reason I’d given the Team America-esque first one two stars, and this is marginally better. Really, though, it’s awful: messily told, tonally uneven, ridiculous in any number of ways. Even as a daft actioner, it’s no fun.

Ghost Rider
Ghost Rider’s maligned sequel, Spirit of Vengeance, wasn’t particularly good, but at least it embraced the trashier, grimier aspects of the character (even if it was only in a PG-13 way). This first attempt to bring the Marvel anti-hero to the big screen tried to force the concept into the shape of a trad blockbuster, ending up with a Constantine rip-off. As hardly anyone liked Constantine, that wasn’t a very good idea.

Nativity 2: Danger in the Manger!
I liked the first Nativity — it’s not high art, but it’s a perfectly lovely Christmas movie. This follow-up has to switch out Martin Freeman for David Tennant, which isn’t a problem, but the new story is. Not that it’s much of a story, more a series of loosely-connected misadventures. Throw in a climactic concert made up of truly dreadful new songs and you have a disappointingly charmless sequel.

Transformers: Dark of the Moon
Michael Bay can make good movies, but he seems to have forgotten how. There are many things wrong with this third Transformers flick, but what’s most shocking is how ineptly it’s put together. For experienced filmmakers, there’s no excuse. Apparently this year’s fourth instalment is even worse, but it’s tough to imagine how. To quote a character in the movie: “does it suck or what? I mean it’s like a bad sci-fi film.”

Dishonourable Mention
Sin City: Recut & Extended
Not bad enough to actually make the bottom five, this recut took a film I remembered loving and messed about with it so much it made me doubt if I’d ever liked it in the first place. It could be my tastes have changed in the intervening nine years, but I suspect it’s at least as much due to the frustrating and near-pointless rearrangement of the running order. I recommend you stick to the theatrical cut.

The Ten Best Films I Saw For the First Time in 2014

The fascinating story of the outrage provoked in Britain by gory horror movies in the early days of VHS. Excellently constructed from talking-head interviews and archive clips, it not only tells the tale clearly but also presents spot-on juxtapositions. Informative both for those who lived through it and those for who it’s now part of history, the important message is how easily such censorship was allowed — even encouraged — and that we must be on the look out for it again. Unfortunately it is happening again, to the internet this time, and once again is being championed via misinformation from those with a vested interest. I guess more people need to see this film…

The gang’s all here for an all-eras X-Men team-up, the original cast teaming up with the First Class lot, and led by original franchise director Bryan Singer, for a time-travelling adventure inspired by the classic comic book storyline. Some surprisingly deep characterisation, buoyed by strong performances from a first-rate cast (how many of them are Oscar nominees/winners?), rubs shoulders comfortably with witty and inventive action sequences. The series that kicked off the current Hollywood superhero obsession proves it can still hold its own among the big boys that have come since.

Darren Aronofsky’s multi-pronged narrative about the evils of addiction is sometimes cited as one of the bleakest films ever made. Even if you’re prepared for that, the verve of the filmmaking transcends expectations. Finely-tuned editing and attentive sound design gradually position the viewer for the climax, a fast-cut perfectly-scored assault on the senses that almost batters you into submission. It may ultimately be grim and without hope, but it’s so amazingly crafted that you’re left longing to experience it again regardless.

Snatched off the street, locked in a bedsit for 15 years, then inexplicably released and given just days to figure out why it happened — that’s the concept behind this dark South Korean thriller (remade in America to no fanfare and even less acclaim in 2013). Oldboy mixes what could almost be a straightforward revenge thriller with weird, almost surrealistic touches, for a whole that is ready-made to be cultish without the self-conscious Cult-ish-ness that such things are normally saddled with. It ends with twists and revelations so hard-hitting they equal even the famous single-take hammer-featuring corridor scene.

Found-footage and superheroes — two current cinematic obsessions, reviled by some and beloved by others. They had to come together eventually. Director Josh Trank keeps a handle on affairs, so that the film always sticks to concept without becoming samey, while screenwriter Max Landis reveals the true nature of his characters as he leads them from low-key beginnings to a barnstorming citywide climax that’s a bit like the ending of Man of Steel, only really good.

Why aren’t there many thrillers set inside the jury room? I’d wager because 12 Angry Men got there a long time ago and nailed it. A man is on trial for murder; we join the case as the twelve-man jury enter their deliberation room. Eleven of them are absolutely certain; one thinks they ought to discuss it. For the next 90 minutes, twelve men sit in one room and talk to each other… and it’s absolutely gripping, tense and thrilling, with moments that make you virtually punch the air with excitement. It’s a masterclass in constrained filmmaking, from director Sidney Lumet, and acting, from a cast of twelve peerless performers.

The sequel to the prequel of the Planet of the Apes takes the fad for all-CGI characters and brings it to maturity with a fully-realised ape society, played by mo-capped actors led by Andy Serkis, that is far more interesting than the human portion of the story. This is a story of interspecies relations where everything could be fine if it weren’t for past distrust and people constantly bringing guns along — like the best sci-fi, it reflects our world back at us. They claimed Avatar proved motion-captured performances should be considered alongside ‘the real thing’. Rubbish. Dawn, however, makes that case completely.

Hated by Stephen King, author of the original novel, and his most die-hard fans, Stanley Kubrick’s adaptation sees Jack Nicholson and family as the caretakers and sole residents of a remote hotel over a snowbound winter, when very creepy things begin to happen… Goodness knows what any of it ultimately means (I know there are plenty of wild theories — I’ve got Room 237 recorded to catch at some point), but as an exercise in eliciting emotions of dread and almost-primal fear, it’s second to none.

The sixth feature film to star Hergé’s boy reporter (yes, really) sees the master of action-adventure cinema, Steven Spielberg, bring us the best Indiana Jones movie in over 20 years — only it’s computer animated and stars a blonde Belgian chap with a posh British accent. Rendered with incredible realism by Weta, with a screenplay that perfectly balances investigation, action and humour, and direction that knows when to maintain verisimilitude and when to cut loose with all the freedom CGI can offer, Tintin is a quality entertainment. Very nearly my film of the year, but for…

Regular readers will know I love a single-location thriller, and this is one — it just happens that the single-location in question is the entire orbit of planet Earth. There may not be much of a plot (“woman gets stranded in space; tries to get to safety”), but it doesn’t matter: director Alfonso Cuarón reminds us of his mastery of the single-take, using it to better connect us to the characters’ experiences. I’m sure people were right that it’s best in 3D on a huge screen, but even in 2D on a telly it’s spectacular. It’s also the third film in my top five that’s only been made possible thanks to advances in computer graphics — that surely says something about how an intelligent use of CGI still allows filmmakers to innovate.

Top 10 Poll

As ever, I welcome your opinion on my top ten — not just in the comments section, but also in the form of a lovely poll. This year you can pick multiple options, so feel free to vote for all your favourites.

And if you feel I’ve made an unforgivable omission, do feel free to berate me below.

Honourable Mentions

Yet another record: for the first time ever, all of my top ten films are ones I awarded a full five stars to. That’s once again testament to the quality of this year’s viewing, because I felt sure at least one four-stars-er would make the list. To be precise, that was The Green Hornet, which I know isn’t widely liked but I rather loved — I called it “one of the best superhero movies of the current generation”, in fact. On the day, though, I couldn’t in good conscience say it was better than any of the films I have included. I guess that confers 11th place on it.

In total, 27 main-list films earned themselves a five-star ratings this year. As well as those in the top ten (for which, see above, obv.), the others were After the Thin Man, All is Lost, La Belle et la Bete, Dead Poets Society, Good Morning Vietnam, Good Will Hunting, The Hunger Games: Catching Fire, In Your Eyes, The Kings of Summer, Rear Window, Saving Mr. Banks, The Searchers, The Secret of Kells, Sightseers, The Thin Man, The World’s End, and Zero Dark Thirty. Additionally, both of the ‘other’ titles I watched and reviewed — The Hobbit: An Unexpected Journey (Extended Edition) and miniseries The 10th Kingdom — also scored full marks.

There are any number of other films I could highlight here — my long-list for the top ten had over 50 movies on it, and at least 25 of those were genuine contenders — but two categories stand out. Firstly, after finishing the Falcon series earlier in the year, towards the end I made a start on The Thin Man, watching the first three out of six films. They’re excellent fun, the tonal inspiration for the likes of the Saint and the Falcon (which I’ve previously covered in full), but on the whole even better. Expect reviews before too long.

Finally, we all know superhero and comic book movies are everywhere right now, and will continue to be so if the announced plans of Marvel Studios, Warner Bros, Fox, Sony, and the rest, come to fruition. It’s felt particularly true for me this year, with not only a few well-received recent releases (Captain America: The Winter Soldier, Guardians of the Galaxy, X-Men: Days of Future Past), but also getting caught up on an array of recent entries (all but two were from the past decade, and one of those is only 11 years old). All told, there were 22 superhero, comic book, or related movies on this year’s list — that’s 16%. For a single subgenre — and not one where I’ve (say) dedicated myself to watching the entirety of one series — that does seem rather a lot…

The Films I Didn’t See

As is my tradition, here’s an alphabetical list of 50 films that were released in 2014 but I’ve not yet seen. They’ve been chosen for a variety of reasons, from box office success to critical acclaim via simple notoriety. It’s biased slightly towards ones I might actually see at some point, though there were a couple of highly-successful or much-discussed ones I felt couldn’t/shouldn’t be left out. Feel free to assume which ones those are.

22 Jump Street
300: Rise of an Empire
American Sniper
Big Eyes
Big Hero 6
The Equalizer
Exodus: Gods and Kings
The Expendables 3
Gone Girl
The Grand Budapest Hotel
The Fault in Our Stars
The Hobbit: The Battle of the Five Armies
How to Train Your Dragon 2
The Hunger Games: Mockingjay – Part 1
The Imitation Game
The Inbetweeners 2
Inherent Vice
The Interview
Into the Woods
The Maze Runner
A Million Ways to Die in the West
The Monuments Men
Mr. Turner
Mrs. Brown’s Boys D’Movie
Muppets Most Wanted
The Raid 2
Teenage Mutant Ninja Turtles
The Theory of Everything
Transformers: Age of Extinction
Under the Skin

Party like it’s Nineteen Ninety Nine…

It’s 100 Films’ ninth year — crikey, when’d that happen?

Expect more archive reposts (can I finish them before my 10th anniversary?), a third round of “What Do You Mean You Haven’t Seen” (it’s got a killer new acronym…), and — fingers crossed — both my 1,000th review and the official 100 Films’ #1000!

All that and hoverboards. We were promised hoverboards.

X-Men: Days of Future Past (2014)

2014 #113
Bryan Singer | 132 mins | Blu-ray | 2.40:1 | USA & UK / English | 12 / PG-13

X-Men: Days of Future PastI think I’ve previously discussed my life-long love of the X-Men franchise, so I shan’t go into detail again, but suffice to say Days of Future Past has been one of my most-anticipated movies ever since the title (which is that of a classic and influential story from the comics) was announced. Thank goodness, then, that the final result doesn’t disappoint.

After two Wolverine-focused spin-offs and a ’60s-set prequel, Days of Future Past returns us to the world of the original X-Men movie cast — Sirs Patrick Stewart and Ian McKellen and all the rest. Only now it’s a future dystopia, where mutants are killed or imprisoned by giant robots called Sentinels. A gang of former X-Men led by Kitty Pryde (Ellen Page) think they’ve worked out a way to send someone back in time to before the incident that incited this terrible future, so that they can stop it. The man chosen is — of course — Wolverine (Hugh Jackman). Transported back into his 1970s body, Wolverine must find the younger Professor Xavier (James McAvoy), reunite him with an imprisoned younger Magneto (Michael Fassbender), and stop younger Mystique (Jennifer Lawrence) from assassinating the inventor of the Sentinels, Bolivar Trask (Peter Dinklage). Throw in almost every other mutant who’s ever appeared in the extensive ensemble casts of the four previous X-Men movies, and you’ve got yourself an epic — reportedly the second-most-expensive film ever made by 20th Century Fox (after Avatar).

There’s an awful lot going on in Days of Future Past, which, if you want to dig into it, makes for quite a rich film. There’s the obvious need to balance major storylines taking place in both the past and the future, though the latter has been sacrificed to focus on the former — quite literally, in the sense that a subplot centred around Anna Paquin’s Rogue was famously deleted (leaving Paquin with high billing for a three-second cameo). There’s also the inevitable complexity of time travel stories — how do changes in the past impact on the future, etc. Men of Future PastBeyond that, there’s the characters: the younger versions are having to deal with the fall-out from First Class, which tore apart friendships and families; meanwhile, Wolverine is having to deal with a new level of responsibility and maturity — he is, almost literally, having to do for Charles what the professor did for him back in the first X-Men movie.

You wouldn’t think of an X-Men feature being an actors’ movie, and at the end of the day it’s not really, but there’s enough material for a quality actor like McAvoy to sink his teeth into. When we meet him Charles is a disillusioned drug addict, entirely different to the man we know from First Class and his future as Patrick Stewart. He’s forced to face his demons in every way possible: stopping his drugs, accepting his mutant superpowers, facing up to the man who did this to him, and the woman he raised as a sister but who turned on him… None of this is necessary to serve the blockbuster spectacle that the film also excels in, but it makes for deeper viewing than your average 2010s tentpole.

If McAvoy is the star, many of the rest of the cast do alright. As mentioned, Jackman has a bit on his plate as a one-time loner trying to become a teacher. Jennifer Lawrence is best served, the depth of her role no doubt bolstered by her Oscar-winning success elsewhere in the acting world. Although the original story also features Mystique as the antagonist, she’s far less conflicted: it’s a straight-up assassination attempt. The dilemmas that leave her torn between Xavier and Magneto are entirely an invention of the film franchise, but they make for a much more interesting story — it’s genuinely unpredictable what she’ll do and who she’ll side with.

Villain of Future PastNot everyone gets to shine in a cast this big, although pretty much everyone gets a moment. The future-set cast have the least to do, people like Halle Berry turning up to do little more than show their face, though Stewart and McKellen get a moment or two worthy of their talents. After he was the focus of the last film, Fassbender is slightly shortchanged here; but after McAvoy gave him essential support in First Class, Fassbender plays the same service here, informing Charles’ journey. Of the new additions, Evan Peters as Quicksilver (that’s the one who’ll also be played by Aaron Taylor-Johnson in Avengers: Age of Ultron) gets both laughs and the film’s stand-out action sequence, as he races around a room, literally faster than a speeding bullet, to save our heroes. Dinklage, on the other hand, is underused. As with Stewart and McKellen, the fact he’s an excellent actor brings extra layers to the little he does have to do, but if you want to see what he can really do you’ll need to get your Game of Thrones box sets back out.

For those that like their blockbusters explosive and adrenaline-pumping rather than character-driven, Days of Future Past doesn’t drop the ball. It kicks off with a mutant vs. Sentinel sequence that innovates with an X-Woman who can create portals. I’m sure this looked grand in 3D, with all that depth disappearing through the other side of the aforementioned gateways. The side effect for us 2D viewers is that Singer is a skilled filmmaker: he does the sensible thing and holds his shots longer, reigning in the fast cutting style of most modern action sequences. That’s essential in 3D, for viewers’ brains to get their bearings, but is a nice change of pace in 2D too.

Quick as a flash...Later, there’s the aforementioned ‘slow-mo’ sequence, and the grand climax, which offers more “fly something big around” antics a la First Class’ submarine, only considerably grander. Yet for all the spectacle, the final moments once again come down to character: what is Magneto prepared to do? What is Mystique prepared to do? Will anyone listen to Charles? And so on. Even the much-vaunted Marvel Studios movies tend to base their climaxes in slabs of ‘epic’ CGI crashing into each other; Days of Future Past does that for a bit, then brings the characters back into focus for the real final beats.

By all rights, Days of Future Past should be a mess. There’s too many characters, too many storylines, too many time periods, too much inconsistency in the continuity of the previous films to allow for a time travel-focused story. Actually, in the case of the latter, it’s used to straighten things out a bit: events we saw in The Last Stand are barely acknowledged and, by the end, are completely eradicated. As for the rest, well, turns out everyone involved actually knew what they were doing, in spite of the fears of some fanboys. Those who number certain characters among their favourites may feel ill-served by some cameo-level appearances, but for less wedded viewers, all the roles are well balanced.

Despite the all-franchise team-up, this is First Class 2 as much as it’s X-Men 5, and that’s only right — although it leaves the door open for more adventures featuring the future X-Men, their stories are probably all told. It’s already been confirmed that the next film, X-Men: Apocalypse, will be First Class 3, taking the younger cast into the ’80s and centred on MystiqueWoman of Future Past (Jennifer Lawrence being the third pillar of the past triumvirate, as they’ve already focused on Xavier and Magneto). While Days of Future Past does wrap up the majority of its threads (the open-ended ones are answered by previous films, if you want them to be), there’s plenty there to play with in the next film (and, perhaps, ones beyond that) if they want to… which they do.

But that’s for the future. For now, debate can rage over which is the best X-Men film. Personally, I’m just glad that we’re in a situation where there are three or four X-Men movies that are contenders for the crown of, not only the best in the series, but to be among the best comic book movies ever made. And as that’s the genre du jour, it’s an important title to hold. Whether Days of Future Past’s all-eras team-up can best X2 or First Class, I don’t know, but it stands alongside them.

5 out of 5

X-Men: Days of Future Past placed 9th on my list of The Ten Best Films I Saw For the First Time in 2014, which can be read in full here.

This review is part of the 100 Films Advent Calendar 2014. Read more here.