X-Men: Zukunft ist Vergangenheit
X-Men: Days of Future Past
Regie:
Bryan SingerDrehbuch:
Simon KinbergKamera:
Newton Thomas SigelMusik:
John OttmanBesetzung:
Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Ian McKellen, Patrick Stewart, Elliot Page, Peter Dinklage (mehr)Streaming (5)
Inhalte(1)
In X-MEN: ZUKUNFT IST VERGANGENHEIT kämpft das ultimative X-MEN Ensemble auf zwei Zeitebenen ums Überleben. Die beliebten Charaktere der originären X-MEN Trilogie verbinden sich mit ihren Vorgängern aus X-MEN - ERSTE ENTSCHEIDUNG für einen alles entscheidenden Kampf, der die Vergangenheit verändern muss - um unsere Zukunft zu retten. (Fox Deutschland)
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Wolverine’s Life on Mars. In the context of the franchise, Days of Future Past is an admirable work of storytelling that succeeds in linking the previous Singer films to First Class and the Wolverine spin-offs by partially rewriting the history of several fictional worlds (the filmmakers managed to create a film that simultaneously opens and closes the original trilogy). As a stand-alone film for newcomers to the X-Men universe, however, it is a very problematic movie that doesn’t take time to introduce the characters, let alone explain their relationships and motivations. The more precise temporal localisation of the story and the ensuing intellectual pleasure are made possible by hints in the form of allusions, which – as in Star Trek: Into Darkness – are intended primarily for those who are already in the know. The narrative does not get its dynamics primarily from the action scenes, but rather from the relationships between characters and their (un)willingness to join a particular group (outsiders become team players and vice versa). The relationships do not exist only on the horizontal plane, but also on two different temporal planes. Different alliances are in effect on each of these levels, which forces us to constantly assess what happened between the past and the future and what could change based on what is currently happening. The clarity of communication between the past and the future is aided by the distribution of information through a limited number of the more important characters, to each of which a slightly different style and narrative tone are applied (whereas supporting characters like Kitty serve only as one-dimensional narrative devices). This change of style and tone is most striking in the chapter focusing on Quicksilver, but the varying degrees of the tragic outlook with which the situation is viewed by Wolverine and Beast on the one hand and Magneto and Xavier on the other is also readily apparent. The drawbacks of having such a large cast of characters become clear when the moment of truth arrives, but there is no time left for psychologising, as the decisive moments are condensed into emotionally tense speeches that I would rather more expect from Captain America (with which Days of Future Past shares the 1970s suspicion that the world really isn’t run by the right people). The action scenes, which don’t always contribute to the development of the plot, then come across as forced, visual dead weight and an attempt to fulfil a quota of spectacular scenes that are needed so that the film can be designated as a blockbuster. I won’t go back to Days of Future Past with the same appetite as I did in the case of First Class, which entertained me with its Bondian stylisation and well-considered introduction of new characters, but at least in order to understand and appreciate its importance for the other X-Men movies, I consider another viewing to be necessary, which is actually the best that any commercial film can hope for. 80%
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I admit that there are some shortcomings when it comes to the profiling of the characters and their interactions, where the reasons someone is doing what they are doing are not always convincingly explained. However, the film manages to be sufficiently entertaining, tense and riveting that I didn’t start thinking about those issues until I left the theatre. In the cinema it was excellent, uninterrupted fun. In short, a very pleasant time spent with old (and new) friends. I liked Evan Peters as Quicksilver, there could have been more of him, his scenes are interesting and fun. Overall, I had more fun than with the (IMHO) overrated First Class.
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Time travel means paradoxes and cracks in space, agency, and logic. I can fault it for the fact that it disrespectfully kicks its older brethren in the balls from its position as a successor to the original trilogy, and it does so with the conscious vigor that Matthew Vaughn and Bryan Singer brought back to the franchise last time, and from the relieved position of the spiritual father, rewrites the universe in the way we adored him for a decade ago, letting the superheroes talk rather than drawing swords from their wrists. It has the support of the actors, with Jackman cracking one-liners, Fassbender staring stubbornly, and McAvoy forgetting to shave his beard. Yet they work with complete certainty, turning a complicated script into a blockbuster joy that multiplies in every additional action scene (albeit that one is really hard to top). I actually do have one major complaint about it: I wanted more of the old group. But you can't stop the (r)evolution. 4 ½.
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I have to say for the first hour I was completely screwed and had no idea what was going on in the movie. This lasted till the end of the movie, just so I could, with a twist from the future to the past with a stop in the alternative present (which is all this instalment is about), understand that this film cancelled everything the X-Men encountered in the previous movies. Suddenly, the dead from the previous instalments were alive, the bastards were made more human and Bryan Singer created a brand new world he would happily draw from in the future. As for the fans, this movie was quite a mindfuck.
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Von den neuen X-Men werden insbesondere diejenigen enttäuscht sein, die hoffen, dass Singer exakt dort anknüpft, wo er aufgehört hat, d.h. dass er nach Jahren wieder mal einen Film dreht, welcher das Genre der Filmcomics irgendwohin weiter bringt. Doch die Zeiten haben sich geändert, ebenso wie Xaviers Jungs. Die Serie hat klare Regeln, eine eigenständige Poesie, die sie eher leicht ergänzt als sie allzu schnell zu entfalten (so wie es bei den bahnbrechenden X-Men 2 der Fall war). Wir können sagen, dass Singer die alte mit der neuen Welt vereint. Sicherlich, im Gegensatz zu Vaughn wirkt sein Retro-Werk nicht so leichtbeinig, jedoch es ist stellenweise ordentlich geladen. Im Grunde genommen scheitert das alles nur am Finale, welches anstelle einer Gradierung eher einschläfernd wirkt. Einwände wird es auch deshalb geben, weil X-Men: Zukunft ist Vergangenheit bereits das seit einigen Malen Gesehene wiederholt, die Personen entwickeln sich quasi nirgendwo hin (mit Ausnahme von Mystique, die unerwartet sehr aktiv und wichtig ist, einfach kein "Objekt des Willens von Professoren" mehr ist ... Ich bin noch gezwungen zu hinterfragen Was für eine perverse Idee es denn ist, Jennifer Lawrence zu einem Symbol der Hollywood-Emanzipation zu machen ... nun ja, lassen wirs), das Neue eher skizziert und als Träger interessanter Action-Fähigkeiten verwendet. Fakt ist jedoch, dass Singer sich mit voller Absicht insbesondere den Hauptfiguren widmet (Charles, Erik und Logan). Die neue Crew zu beobachten ist der Knaller schlechthin, denn sowohl McAvoy als auch Fassbender sprühen geradezu mit Energie, Zynismus sowie innerem Drama. Besonders der junge Magneto biegt das Raum-Zeit-Kontinuum kompromisslos zu sich selbst um. Die alten Männer wirken hier eher ein wenig wie mitleidige sowie melancholische Gestalten. Außerdem ist es mir nicht vollends gelungen zu entschlüsseln, in welcher Beziehung sie zur ursprünglichen Trilogie stehen (insbesondere auf Charles). Ist es vielleicht ein weiteres Kontinuum? Vielleicht. Letztendlich wird somit die Zukunft ist Vergangenheit kein hinreißendes Spektakel eines "Weltenerrichters“ sein, sondern überwiegend eine großartige Aufrechterhaltung der Poetik dieser Serie, ihres Bolzens und gleichzeitig ein Neustart. Und hinter der Ersten Entscheidung hinkt das hier in der Tat nur ein kleines bisschen hinterher. Nachdem der Film vorbei war, stellte ich mir nachdenklich die verzwickte Frage, ob denn die Zeiten, als ähnliche Comics-filme die komplexe Beziehung zwischen Blockbuster und Realität neu definiert hatten, nicht mehr hinter uns liegen. Die Kluft zwischen den X-Men, Batman sowie den ehemals leichtfertigen Eskapisten beginnt sich so langsam dank eines erträglichen Kompromisses zu schließen, der sich eine gewisse Schärfe bewahrt, jedoch nun nicht mehr im geringsten irritiert und auch nicht neue Gebiete so intensiv erforscht wie noch vor einigen Jahren. Die Zeit wirds uns zeigen. [75%]
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Hollywood’s dogs and cats baked a cake where they wanted to include everything and everyone across universes, time, and space. And as a result, there is no space or time on the screen for anything or anyone. Everything is so rushed that what was the biggest strength of X-Men until now, completely vanishes. I mean the exploration of the characters, their development, their fears, their relationships with each other and the resulting emotions. Here, everyone is invariably relegated to the roles of emotionless puppets reciting big words, interrupted here and there by some mandatory blockbuster action. Moreover, the action is only there for its own sake; which doesn't mean it's bad in itself because it's not. Singer bit off more than he could chew, which is even more of a shame because now and then there is a flash of genius (mostly thanks to the cast), that shows how good it could have been if someone in charge realized that less is sometimes much more.
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Bryan Singer's return to the Gifted Youngsters was eagerly awaited by the whole film world, and the feeling you get when the universes of X:Men: First Class and the classic adventures intermingle onscreen is relatively unmatched when it comes to sending chills down your spine. There's no denying that this mouthful was a truly enormous one, and thanks to the participation of virtually all surviving mutants, the X-Men: Days of Future Past grows into a truly epic event. Therefore, a running time of just over two hours is actually pitifully little for such a fateful combination. There is a heap of important events, heartbreaking speeches, and moments that will have a solid place in the entire saga, but precisely because of everything that needs to happen, there is no room for a proper break. It either requires another screening or, if possible, a more sprawling director's cut, which would have a real chance of becoming the best mutant spectacle. So far, it stands at hesitant 90%, which mainly saddens me because young Magneto has a somewhat conflicting role and behavioral shifts (not consistent with his character, for example, in X-Men 2), and I still don't know if Trask was even a villain. On the other hand, the emphasis on the development of Mystique is a pleasant surprise, as is the fact that Charles Xavier's rock bottom feels perfectly natural. And why does it still end up getting five stars in the end? The ending. For a person who has seen most of the installments several times and still worships the first X-Men as one of the best comic book movie franchises ever, the feeling of (semi)closure of one chapter is so poignant that I would forgive much more than just a few loose ends.
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The best comic book movie? No, seriously not. A character driven special effects picture that reflects fear of the future, plays around with historical facts to outrageous lengths, while not becoming any less entertaining, foreboding and, primarily, tense. And that’s quite rare. It’s been a long time since I actually feared for a character and every digression from the original timeline raised my eyebrows. The explanation of time travel is absolutely exemplary, mutation is a great way how. The cast is commanded by Fassbender and McAvoy (their scenes are flawless), Jackman too, even if his Wolverine stays a bit in the background. A perfect screenplay, sure direction and mainly a pure-blooded, intelligent blockbuster. Best scene: Pietro vs. bodyguards.
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Im Falle dieses Films ist The Rogue Cut absolut wesentlich oder auch: ohne Anna Paquin kein Interesse. Das Ergebnis dieser Veränderung ist ein ausgesprochen kompaktes Werk, das auch Comic-Leser fesseln und nicht beleidigen wird. Fast schien es, als sei diese (nach heutigen Maßstäben) alte Staffel am Ende, doch nun hat sie neuen Schwung bekommen und tritt mutig gegen Marvel’s The Avengers an. Die Rogue-Nostalgie und die Rückkehr von Figuren wie Phoenix haben meine Stimmung deutlich aufgeheitert. Von den neuen stach Quicksilver alle aus, während derjenige in The Avengers geradezu lau war (obwohl er seine Schwester an seiner Seite hatte). Nichts zu tun, ich werde immer wieder mal eine Wiederholung schauen.
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Do not be fooled by the high rating of the X-Men enthusiasts. They would give it 5 stars even if Fassbender and McAvoy competed to see who could eat more oysters in an hour, with Jackman as the referee. Everyone foolishly thought that Bryan Singer's return would be a return of the king, but the opposite is true. He destroyed the fantastically polished retro First Class, which was sharp, smart, and expertly handled with subtly effective action. This sequel tries to utilize this inventive style and build upon it, but it fails miserably in the dramatic sequences (boring, devoid of emotions), as well as in the action scenes, where it can only manage a slow-motion scene like in The Matrix and a flashy destruction scene with Magneto, which is a complete copycat from the previous installment and is quite obvious at that. The plot twists and turns are uninteresting and convoluted just to fit everything together. Essentially, the film has nothing to offer. It's not completely boring, visually it fits well, and there is an attempt at mythology. And in the end, I was much more afraid of the time jumping.
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Gleich die erste Szene hat den ganzen (peinlichen) Wolverine: Weg des Kriegers von Mangold übertroffen. Der Rest von X-Men: Zukunft ist Vergangenheit ist dann weitaus besser als alle X-Men-Filme, bei denen die Regie nicht Bryan Singer geführt hat. Ich bin so froh, dass dieser Film gelungen ist! Singer ist zurück, Ottman und das tolle Hauptmotiv sind zurück. Die Action und die Dialoge (und der Humor) befinden sich in einem perfekten Gleichgewicht. Die Actionszenen sind fantastisch durchdacht und einfallsreich, die Dialoge sind echte Dialoge und kein leeres Schwatzen. Bei der Besetzung gibt es nichts, was ich kritisieren könnte. Jede Rolle macht Sinn… Darauf habe ich elf Jahre gewartet.___PS: Die Special Edition macht aus X-Men: Zukunft ist Vergangenheit kein anderen Film. Es sind aber einige Szenen hinzugekommen, die mir jetzt in der klassischen Version fehlen würden. Danke.
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Großartig. So unglaublich es auch klingt, es ist Singer gelungen, den bisherigen Film X-Men: Erste Entscheidung zu übertreffen und eine perfekt konsistente, präzise aufgebaute, intelligente und bis ins kleinste Detail durchdachte epische Show zu kreieren, die von der ersten Minute an unterhaltsam, spannend und atemberaubend ist, ohne auch nur eine einzige langweilige Stelle zu enthalten. So außergewöhnlich gut gedrehte Filme sind eine Seltenheit. Ich applaudiere.
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Der erste Film des Filmmarathons war die richtige Wahl zum Aufwärmen. Die Verflechtung der ersten und der zweiten Generation ist hervorragend gelungen. Aus meiner Sicht der eindeutig beste Magneto in einer Interpretation von Fassbender, der witzigste Quicksilver und der Gambit mit den wenigsten Fehlern. Ich bin neugierig, wie das alles weitergeht.
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Not as good as First Class, but still a very decent continuation of the franchise. Granted, it slightly resembled a family reunion, with Xavier and Magneto as grandpas and Wolverine as daddy, but the story worked very well even with its different timelines. The action scenes were of good quality as usual and the whole movie had a decent pace and wasn't boring. Still worth watching.
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I'm not saying I was absolutely thrilled, but this is a movie that is enjoyable. It has an idea, it has great visual execution, actors that you like to see in these roles, plus there are truly many original, excellent moments and even humor. The experience in the cinema was great, the movie held my attention, but it just didn't impress me that much.
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Yet another proof that with X-men it’s always up and down. A run-of-the-mill average movie is followed by a candidate for a movie of the year, then a slightly above average one and so on. It was no different this time, brilliant First Class, then average Wolverine and now Days of Future Past - something in between - a great movie which leaves a lot to be desired, though. The movie is awesome in terms of effects. We also learn a lot about the characters, but the whole thing is drowning in a hodgepodge of old and new characters and a double plot structure, which is as leaky as a sieve. Not that I was confused by it, but the mixture of old and new just didn't sit well with me, and, most importantly, Vaughn is a much better director than Singer. But, as a final remark, the whole series boasts the largest number of charismatic and likeable characters per square meter, led by the superb Jackman.
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