The tone is 'grand finale', a plot that unites the films into a single, climactic conclusion

Rating: 8/10 (4 October 2016)

The first two films of the X-Men franchise marked the beginning of a series of adjustments to the own mutant heroes, as many others. Both were directed by the talented Bryan Singer, who sat out the latest and most contested adaptations of mutants for film in X-Men: The Last Stand and X-Men: First Class. Singer returns to the franchise now to continue the second trilogy of the characters and X-Men: Days of Future Forgotten serves as a sequel to the last two films of the series. For the script was hired Simon Kinberg, who had worked on the series as a producer and writer of X-Men: The Last Stand (2007).
One of the first points to address here is the question of chronology in the history of the X-Men. It is by far the most confusing film series with films that do not necessarily follow a logic in the events of the facts, which is further problematized with the solo adventures of Wolverine. In X-Men orgins: Wolverine, we know the origins of the character, but the Wolverine events: Immortal are ignored in this film, including in a flashback sequence of character when he asks the young Professor Charles Xavier into your mind. Aware of this chronological confusion and, taking advantage of existing stories in HQ exploiting this arc (which pleases the fans and also avoids criticism of the script solution), Simon Kinberg and producers have chosen to follow a more drastic way and that would solve many loose ends from previous productions: time travel and multiverse also as explored in comics. After all, the theme of the saga "Days of Future Forgotten" just brings the same idea of ​​producers, started in "First Class", which is to bring a darker tone, more apocalyptic the prequels.
It would not enough to explore the travel time theme if the script was not competent enough to "reboot" the franchise tying some arches of previous films and giving necessary elements and compelling for future productions. The implementation and convergence between the dark and devastating future and the past of the early 1970s the initial presentation was fundamental for the future decimated by Sentinels, which subsequently also affected the average human. We are introduced to new mutants Blink (Fan Bingbing), Sunspot (Adam Corner), Bishop (Omar Sy) and Apache (Booboo Stewart) with his powers and skills in panels worthy of Marvel pages, even if they have not had much time scene. After we can see the credulity of the situation and how devastating this future is being for all, we begin the journey to the past, specifically in 1973, where all the story develops, in fact.
Unlike the original trilogy and "First Class", the question of intolerance is not the main focus - still there because in a scenario of emergence of mutants, they are seen as an unknown by many, especially by Dr. Bolivar Trask - and rather, the consequence of our actions, they can influence and change the way we relate to others and how certain actions will interfere further. The protagonists - Wolverine, Xavier, Magneto and Mystique - must make their choices, and on the latter lies the greatest responsibility for the future.
Bryan Singer can very well deal with the two distinct eras portrayed. The scenes that take place in 1973 spend all the political and social climate, behavior, clothing, cars with all the characteristics of that time. To a junction with real events it is made (as the alleged involvement of Erik the assassination of President Kennedy). In the not so distant future, the environment is bleak and catastrophic. Simon Kinberg script can simultaneously insert mood at appropriate times and with some frequency. The greatest example is the Mercury mutant scene that perfectly allied fun and action in an impeccable use of slow motion with the visual effects. The character, played by Evan Peters, joined the plot to a specific function and then left abruptly, but not without leaving the scene in which it participates engraved in the minds of the audience. One of the best scenes not only the film, as the X-Men franchise.
Bryan Singer and his visual effects team did not disappoint. Allied to the point of photography Newton Thomas Sigel, some scenes are amazing, as simultaneous battles in which Magneto controls the Sentinels and when about the White House with the structure of a football stadium while that mutants of the future struggle against same Sentinels who discover their location. There is also the Magneto rescue scene prison culminating in the remarkable scene starring Mercury. The effects are used in the right measure and bring the action scenes an impressive grandeur. It should also be noted the soundtrack also long editor, John Ottman. The trail aligns perfectly with the mood of the production.
The tone is 'grand finale', a plot that unites the films into a single, climactic conclusion, joining two X-Men generations of very competent and cohesive manner. Although successful in most of the time, at times, the film relates well to the previous ones, but in others, virtually ignores the existence of material facts shown above. An excuse to virtually restart the franchise, and that was successful. Despite having a lot of scenes with effects, they are used for the sake of narrative, never placed exaggeratedly just to impress the technical aspect. Overall, the film achieves a degree of consistent balance and entering one of the best of the entire franchise. And there is a post-credits scene, which now introduces the next villain faced by the X-Men, Apocalypse, already showing the impact of all its power.