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Резюме : В Х-Мен: Дни на отминалото бъдеще - група мутанти водят война за оцеляване през два различни периода от време. Любимите герои от „X-Мен" трилогия обединяват сили с по-младите си версии от миналото от X-Мен: Първа вълна, за да променят важно историческо събитие и провеждат епична битка, която може да спаси нашето бъдеще. В ролите : Питър Динклидж, Евън Питърс, Никълъс Холт, Бингбинг Фан, Даниел Кудмор, Лукас Тил, Бубу Стюарт, Джош Хелман, Лари Дей, Йън Маккелън, Хю Джакман, Елън Пейдж, Майкъл Фасбендер, Джеймс Макавой, Дженифър Лорънс, Джейсън Флеминг, Патрик Стюарт, Холи Бери, Ана Пакуин, Шон Ашмор IMDB : Линк към IMDB Държава : САЩ Година : 2014 Времетраене : 131 минути
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Dir: Bryan Singer; Starring: Hugh Jackman, James McAvoy, Jennifer Lawrence, Michael Fassbender, Nicholas Hoult, Peter Dinklage, Patrick Stewart, Ian McKellen. 12A cert, 131 min. What, exactly, is X-Men: Days of Future Past trying to prove? The original superhero mega-franchise returns to cinemas this summer with its founding director, Bryan Singer, back at the helm. It was the release of the first X-Men film, in 2000, that convinced cinemagoers still stinging from Batman & Robin that the comic-book movie vocabulary stretched a little bit further than zap and kapow. But since then, the series has been stylishly outflanked by Dark Knights, Avengers and Amazing Spider-Men, which took the X-Men recipe, and sweetened, coloured and carbonated it. This latest film feels like an attempt to reassure us that, 14 years on, the mutants can still match their younger rivals, although the effect is not unlike watching a recently divorced uncle dancing to Blurred Lines at a wedding reception, while the bridesmaids shimmy warily towards the cloakroom. The plot, which is loosely based on a two-issue storyline from X-Men comics published in 1981, is a curate’s egg, thoroughly scrambled. We open in a dark, Matrix-style future-wasteland, in which mutants slip from shadow to shadow, evading giant predatory robots while scratching for supplies in the dirt. Singer borrows stylishly here from Fritz Lang’s Metropolis: shots of mutants being frogmarched into internment camps are direct lifts of the ‘Day Shift’ section of Lang’s silent dystopian classic, and one of few hopeful signs that Days of Future Past’s makers are aware of the existence of a non-superhero cinema. Watch: X Men: Days of Future Past final trailer The surviving X-Men, who include most of the key cast of Singer’s first two films – Hugh Jackman as Wolverine, Patrick Stewart as Charles Xavier, Ian McKellen as Magneto, Halle Berry as Storm – flee to a ruined Moscow and then an equally ruined China, as if dutifully ticking off key territories in which, a few years ago in a parallel timeline, a film based on their adventures might have premiered. An enormous load of exposition is needed to set the scene – let’s call it X-mansplaining – although finally, we get the gist. In the aftermath of the Vietnam War, Bolivar Trask, a kind of watered-down Mengele figure, played by Peter Dinklage, developed drone robots called Sentinels for the Nixon administration, which sought-and-destroyed mutants worldwide in anticipation of an uprising. The mind-manipulating Kitty Pryde (Ellen Page) devises a plan: if she teleports Wolverine’s present consciousness into his past body, he can avert the events that led to the mutant holocaust. Accordingly, Wolverine returns to 1973 and sets about reuniting the cast of X-Men: First Class, Matthew Vaughn’s Sixties-set prequel, including Jennifer Lawrence’s human chameleon, Mystique, and James McAvoy and Michael Fassbender as the Stewart-McKellen surrogates. (Although the impish pleasure Vaughn’s film took in recreating its period is missing here: the wood-panelled underwater villain’s lair from First Class was worthy of a Connery-era Bond film, whereas Singer settles for bell-bottoms, disco-balls and Pong.) By this point, Days of Future Past has introduced 18 lead and supporting characters, with a handful more to follow. “The mind can only stretch so far before it snaps,” Kitty warns before she carries out the brain-meld, and you wish the writers had listened to her. In the effort to keep everyone busy, the film ties itself into a sheepshank. A fun new character, Quicksilver, can move fast enough to rearrange action scenes as they unfold, but after performing this trick once, he’s quickly written out. Fassbender’s young Magneto switches his loyalties seemingly at random, or to whichever side gives him an excuse to levitate, say, a football stadium. Wolverine, who could have otherwise prevented a particular plot upset in seconds, inconveniently suffers from a panic attack. Characters’ bad decisions only serve to eke things out. Trask points out to Nixon that Magneto’s power to manipulate metal leaves existing military hardware next-to-useless, and then builds the President a fleet of weaponised, non-metal robots… To which Magneto, in an unforeseeable tactical masterstroke, adds metal. (Guess what happens next.) Mystique, who’s bent on killing Trask, learns the assassination will bring about the near-annihilation of mutantkind - and presses on. The film squanders both of its casts, reeling from one fumbled set-piece to the next. It seems to have been constructed in a stupor, and you watch in a daze of future past. X-Men: Days of Future Past is released in the UK on May 22, and in the US on May 23 CLARIFICATION: In the print edition of The Daily Telegraph of Friday May 23 the review of this film was incorrectly given one star due to a production error. We apologise for this inaccuracy. Two stars is the correct rating, as above.