The challenge for science fiction film is that viewers have probably seen it before. When I reviewed Looper in 2012, I listed the various films that it references, intentionally or otherwise. A similar familiarity is found in Edge of Tomorrow, which feels like a combination of Groundhog Day, Starship Troopers, Source Code and The Matrix, with a bit of Saving Private Ryan, yet still manages to declare its own identity. This is partly due to director Doug Liman blending the comedic and dramatic elements of Christopher McQuarrie, Jez Butterworth and John-Henry Butterworth’s script, making the film’s first act very funny. Secondly, Liman gives the film a fast, urgent, visceral energy, placing the viewer in the midst of the action sequences that are both explosive and suspenseful. Tom Cruise’s star image receives a playful treatment, as his character William Cage is initially a hopeless coward who must learn both courage and comradeship. Emily Blunt makes for a convincing badass, her presence as well as the motley squad Cage is drafted into (especially Bill Paxton) resonating with Aliens. But rather than feeling derivative, Edge of Tomorrow evokes these other films with a sense of fun (without being overly referential), inviting the viewer to share its knowledge and understanding. Just as Cage sees each repetition of the same day afresh, so do we see these familiar elements with fresh enjoyment.
Archive for June, 2014
X-Men: Days of Future Past pulls off the remarkable feat of being sequel, prequel and reboot all at once. It continues plotlines of X-Men: First Class, while also referring to the events of X-Men, X2, X-Men: The Last Stand, X-Men Origins: Wolverine and The Wolverine. But it also performs a remarkable piece of internal resetting, making an alternative title X-Men: Restoration. Whereas other franchises have delivered reboots that simply play out as though earlier incarnations never happened (see Batman Begins, The Incredible Hulk, The Amazing Spider-Man, Man of Steel), X-Men: DOFP uses its time travel conceit to have its cake and eat it, featuring elements that, in any other narrative, would never work. In doing so, it echoes Star Trek (2009), which also created an alternative timeline to run parallel, rather than separately, from that established in earlier instalments.
Much of the pleasure of X-Men: Days of Future Past comes from its knowing engagement with the franchise’s established history. Most obviously, we see new and old versions of familiar characters, especially Patrick Stewart and James McAvoy as Professor Charles Xavier as well as Ian McKellen and Michael Fassbender as Erik Lehnsherr/Magneto. The differences between the young and old versions of Xavier are highlighted in a sequence that sees McAvoy and Stewart play against each other, McAvoy a burned-out drug addict who has given up, Stewart a grizzled war veteran who, despite everything he has seen, still has hope and urges his younger self to rediscover his hope. Hope is perhaps the central conceit of all superhero movies, and is especially important given the bleak future that occupies the film’s early scenes (reminiscent of Terminator 2: Judgment Day), including a genuinely shocking battle sequence between Sentinels and mutants. In a previous post, I criticised The Wolverine for the low stakes of its drama, and that problem is easily avoided in X-Men: DOFP as Stewart’s ominous voiceover informs us that mutants cannot win this war. On an intimate level, we see familiar characters cut down mercilessly, demonstrating that everyone is at risk in this grim vision of the future.
At times, the grim seriousness of the future sequences does not gel with the humour of the 1973 portion of the narrative, which leaves the film feeling rather flimsy overall. However, the intertextual/intra-franchise references are a lot of fun and well-judged as the film never tips too far into wink-nudge territory. Furthermore, director Bryan Singer shows the same flair for visualising superpowers on screen that made his earlier X-Men films such a delight. A much celebrated scene features Quicksilver (Evan Peters) literally moving faster than a speeding bullet as he darts around a shootout scene, while Magneto’s manipulation of metal as well as Xavier’s telepathy continue to provide visually arresting scenes, as do the abilities of Blink in the future. Overall, the film is like the X-Men themselves – a motley assemblage of disparate elements that do not always harmonise, but an assemblage that is nonetheless engaging and compelling.