Best Scene In X-men Days Of Future Past

Bob Roberts
• Wednesday, 28 October, 2020
• 7 min read

Kicking off the top five is the scene in which Charles looks through Wolverine's mind to see everything he has been through, and ends up making contact with his future self. It was not only epic to see these two versions of the character connect, but it was really heart-warming to see the older Xavier tell his younger self about the future and how he must never give up his hope.

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James McEvoy has actually become one of my favorite actors with this role, and the “depression” half of the movie as I call it really helped influence that decision. I thought they would have to kind of dumb things down for newer audiences to get, but instead we just went right to seeing them doing what they've been known to do forever.

The final moments between Magneto and Professor X were really emotional, but not quite as much as the death of every single mutant. Near the beginning, we saw just one of the many deaths they had to go through as Kitty kept sending Bishop back to warn them earlier than re-locate.

But the final battle against the Sentinels involved the end of their life for good. I was one of the many people to go “ah, Quicksilver is unnecessary, he was shoe-horned in, his costume sucks, it won't be as good as When's” etc.

Super Speed is hard to get right on film because you need to be able to see things from the character's perspective to truly get a good experience. We ended up seeing this amazingly choreographed scene where Quicksilver stops a bunch of guards against killing Wolverine (pub), Charles, and Erik by spending about a second or two flying around the room doing both hilarious and awesome moves to make every enemy attack backfire.

I was laughing so hard when Quicksilver finally stopped running to see the whole room fall to pieces. From the TV Spots I thought the scene when they visit him in his house was going to be so cheesy and not funny.

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The Avengers round shot, Bane breaking the Bat, a certain moment from The Amazing Spider-Man 2, and the Man of Steel taking off, are all moments that fanboys can get all giddy over because of how epic it looked to see brought to life, but all those are surpassed by Wolverine walking down the halls of the X-Mansion as he passes all of his old friends. And that last moment when Wolverine tells Xavier that he has returned to the future is also brilliance.

Coming up at number one is the final few moments of the past, the end of the climax, as Mystique once again confronts Charles and gets convinced to stop. After seeing quite a few times throughout the course of the film how the impact of his loss had on him, I expected to see a very beautiful moment between the two before they part ways.

I thought the moment they shared before Wolverine went back to the future was just so emotional that I legitimately shed a tear. The last time a tear rolled down my cheek during a movie was when The Avengers assembled together because that was just so frigging badass on the big screen (it also nearly happened at the end of The Amazing Spider-Man 2, but it ultimately didn't quite come out).

For me, Charles and Mystique's relationship is a highlight of the new films, and they steal every scene together. DISCLAIMER : ComicBookMovie.com is protected under the DMCA (Digital Millennium Copyright Act) and...

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Show preshow less Loading... It had a a while since the franchise peaked, and on paper, the giant cast list seemed to promise another X-Men : The Last Stand “-style mess at best.

Plus director Bryan Singer‘s last film, Jack The Giant Slayer, ” was by some distance the worst of his career, and early marketing materials made it look like ‘DOFF’ had a tiny scope that belied its budget (the second most expensive in Fox’s history, after Avatar “), and made it seem like some kind of mid-’90s vision of the future. One of Singer’s best films, and the vestrymen movie since 2003’s “X2: X-Men United,” it’s one that manages to be remarkably coherent and entertaining, given the potential pitfalls involved.

Quicksilver, Especially In The Pentagon Sequence Evan Peters has impressed us for some time now as one of the regulars of the American Horror Story troupe, and he is given a gift in this role here. And that all comes to a head in what is probably the film’s best stand-alone scene, in which the X-Men, having freed Magneto, now face a whole brigade of guards who open fire.

Not just one of the best uses of extreme slo-mo/bullet-time we’ve seen in forever, and definitively the best use of Jim Croce‘s “Time in a Bottle,” Quicksilver’s mischief comes through in how he solves the situation: through the casual tiny deflection of a few bullets, a couple of pant sings, and a “stop punching yourself” sight gag. By far the most conflicted character (Mystique comes close), here Charles Xavier, of all of them, is the most ambivalent and shaded of the X-Men, especially as Wolverine plays the all-out good-guy hero.

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Building the stakes for Prof X who we know will evolve into a creature of Patrick Stewart -levels of compassion and wisdom is a tricky business, but it really works here, as we see him ruining himself from the inside out, prey to gnawing doubt and guilt (though we could have done without Beast’s explanation of Xavier really losing it because Vietnam). Xavier’s adoption of the merciful position as regards the human vs. mutant battle is given texture and context, an active, costly choice, of which he is not at all sure.

The Script We have to confess, we’ve always lumped Simon Kin berg in with the Hartman & Orcs of the world: a young screenwriter who seemingly came from nowhere to become a big-deal writer and producer, who’s generally stayed within franchise territory, and whose credits (“ X-Men : The Last Stand,” Jumper, “ This Means War “) don’t really instill much in the way of confidence. Sure, there are incoherence and inconsistencies, but Kin berg makes the wise decision to keep most of the mutant cameos to a minimum, use the old-school cast of Stewart and McAllen et al. fairly sparingly, and focus up on Wolverine and the ‘First Class’ gang, and even the latter group have pretty much been pared down to the most interesting one: Charles, Erik, Mystique and Beast.

This was a difficult job, make no mistake, especially as the project came together quite quickly, so hats off to Kin berg for pulling it off the most part. Both Captain America: The Winter Soldier and Godzilla have combined heavy stakes with actually being enjoyable, and without slipping into dourness, and ‘ Days Of Futures continues the trend.

The X-Men’s great benefit is that they can have a more serious subtext at work in a way that, say, Thor doesn’t, but Singer also remembers, perhaps even more successfully than with “X2,” that the audience are here to have a good time. But things have escalated fast, and even a relatively grounded entry in the genre like ‘The Winter Soldier’ climaxes with a host of exploding into pixels, to say nothing of the city-trashing that ends Man Of Steel.” There’s spectacle in ‘ Days Of Futures, ’ certainly, with waves of sentinels and Magneto’s stadium-lifting parlor trick.

Mystique/Raven’s role here is both beefed up (she’s literally the most important mutant in history), and weirdly wasted (see below), but Lawrence kills it, both with a ninja-like physicality that bridges the gap between her younger turn in the first film and Rebecca Romijn‘s equivalent in the present day, and with her ever-present ability to take an emotional beat and knock it out of the floated-by-Magneto park. From an ability, with Fassbinder, to suggest years of sexual history, to her terrifying revenge face, and absolute hurt when her colleagues turn on her, Lawrence continues to be a delight to watch in these films.

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Word’s starting spreading about a possible Mystique spin-off, no doubt as an attempt to keep Lawrence interested in the franchise, but for once, that doesn’t sound like the worst idea as the character has gone from a second string villain in the originals to an integral part of the series going forward. Sure, the X-Men send him home because he’s a kid, but it seems silly especially when everyone’s under a “do-or-die” threat of changing the course of history and time.

And yes, the filmmakers say he’ll be back for X-Men: Apocalypse, ” but good luck with that because you’ve already established a character that can basically defeat anyone with his speed. Almost devoid of quirkiness and shorn of most of the gruffness that makes the character so eternally endearing, here Hugh Jackman‘s Wolverine is probably the blandest we’ve seen him be.

In fact in some scenes in which the dramatic tension really lies between Magneto and Prof X, he’s pretty much the fifth wheel; a hairy guy photobombing in the background. Embarking on a dangerous mission, for which he immediately volunteers, and tasked with recruiting Xavier and others to his cause, Wolverine here has little internal conflict, bar a sudden Stryker flashback which only happens at one narrative convenient moment in order to incapacitate him.

We understand the oft-mentioned parallels between his role now and Xavier’s own in his life (there’s a lot of you-saved-me, no- you -saved- me stuff going on), it's just a shame the screenwriters felt they couldn’t salvage any of Wolverine’s famous reluctance to play hero this time. Some Questionable Digital Photography Since The Usual Suspects, ” Bryan Singer has never made a film without longtime director of photographer Newton Thomas Nigel, and you can see why.

Their work together has traditionally been strong, and when he’s on top form, like with Three Kings or Drive, ” Nigel makes a good case for being among the best in the world. ‘DOFF’ is certainly more attractive than ‘Jack,’ which managed to be both gaudy and … brown, but the near- future scenes are so dimly lit for the most part that they come off as feeling a bit cheap.

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But worst of all are some interior action sequences, which have that sort of Michael Mann -circa-“ Collateral early digital photography vibe to them. In particular, Michael Fassbender‘s Magneto and Jennifer Lawrence‘s Mystique are pretty muddy in terms of the actions they perform, and the reasons behind them, enough so that it starts to threaten to break the movie.

Mystique is clearly on a revenge mission against Peter Dinklage‘s Bolivar Track, but we only ever see her in vengeful assassin mode, with the reasons given thanks to some blurry autopsy photos of Jason Fleming and Zoe Gravity. And because you never quite believe why she’s on such a mission (even after she’s been told the potential consequences), it makes her relenting at the end, failing to pull the trigger on Track amid the chaos, and instead helping to bring down Erik, feel entirely unconvincing and unearned (why does she start listening to Charles only now?).

Though she’s positively transparent compared to Magneto who has broken out of prison, swiftly convinced that they have to stop Mystique to prevent mutant extinction, tries to kill her, then tries to talk her out of it, and then decides to pull off a show of force in front of the entire world, the exact thing that would surely convince the world that the mutants are a giant threat (indeed, it’s a little puzzling that they wouldn’t push ahead with an exterminate-the-mutants plan after one of them DROPS A FOOTBALL STADIUM ON THE White House AND TRIES TO KILL THE PRESIDENT). In theory, it’s in the spirit of the character, with Magneto always looking out for a chance to get one over on humanity, but the’ll-help-you-until-I-try-to-kill-them reversal is already familiar from “X2,” and Fassbinder’s more nuanced turn makes the megalomania seem very sudden.

With his only inferiority coming via occasional moon eyes made over Jennifer Lawrence‘s Mystique and one scene where he makes a (really obvious) breakthrough based on watching the television news, mostly all he does is repeat exposition, go to turn the power back on and fail to lift things off Prof X. Oh, and occasionally fly a plane. There was a reason we said ‘mostly,’ because the opening scenes showing off the mass-murder of mutants and humans leaves a pretty sour taste in the mouth.

So, at the end of ‘X3’ (which otherwise seems to be roughly canon, judging by the mutants still alive in the Sentinel future of ‘ Days of Futures ’), Jean Grey kills Prof X, or at least obliterates his body. The bad guys need Mystique to perfect his Sentinels so that they can replicate mutant powers (in fact, it’s genius scientist Bolivar Track who asks to capture her, except in the original timeline, he’s already dead by the time that she’s caught and experimented on).

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But in Singer’s movie, Wolverine is found by General Stryker, so he can follow in the continuity of doing experiments on Logan and giving him adamantine claws (let’s forget that Logan has adamantine claws in the future of ‘DOFF’ that isn’t explained either, like he’d undergo that process voluntarily?). And in their first shared scene where she impersonates the Vietnamese official, Track gets to escape peril by, um, walking out of the door into the hallway while everyone’s distracted.

The character is awesomely styled in those ’70s duds and haircut, and Linkage invests him with way more charisma than he should have given what’s written for him, so why not give him more to do? Part and parcel of not really understanding Magneto’s motivation in the last third of the film there're his somewhat baffling decision that the best way to go about showing the world what mutants can do is by dumping a stadium onto the White House, thereby creating a sort of fortress.

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