‘Those Who Wish Me Dead’ Movie and Blu-ray Review

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

I remember being blown away when I walked out of the theater after watching Taylor Sheridan’s 2017 directorial debut in “Wind River,” which he also wrote. He’s an accomplished writer having written such films as “Sicario,” “Hell or High Water,” and also a number of episodes of “Yellowstone.” While “Those Who Wish Me Dead” is not as powerful and emotional of a film as “Wind River,” it still shows he has a great eye behind the camera and knows how to get powerful performances out of his actors.  He also knows how to build suspense while also keeping a lean pace to his films.  I look forward to what he has up his sleeve next as a writer and director.

Even though he shares the screenwriting credits with Michael Koryta (based on his book of the same name) and Charles Leavitt, his touches are still all over this film. With any thriller, you need to capture the attention of the audience right away.  Sheridan does this by introducing us to Hannah, played brilliantly by Angelina Jolie.  Jolie has always been an underrated actress, but here, she gets to show off her acting chops in an impressive and understated fashion. Hannah is still traumatized by the fact that in her role as a smoke-jumper, three young lives were lost.  She feels completely responsible for it, even though there is always more to the story. Many nights, it is hard for her to fall asleep comfortably without horrible nightmares.

Hannah, however, gets a chance to redeem herself when she stumbles upon an injured and scared 12-year-old boy named Connor (Finn Little), who is all alone due to circumstances beyond his control. Together, they form an unlikely pairing where they must work together in order to stay alive, as Connor has some information which two very bad men are looking for, and they will stop at nothing to obtain from him.  Even though Hannah has the training and the skills, it’s difficult when there is a tremendous fire heading their way at the same time.  This is a film which starts off by allowing us to spend time with the characters, get to know them and care about them.  It’s one of the reasons why it is so effective.

Finn Little and Jolie work so well together. At first, Connor wants nothing to do with Hannah and pushes her away. When he realizes it’s a 12-mile trek to get any help, he quickly realizes he has no choice.  Even though there are horrible lighting storms going on and this intense chase, Sheridan takes time to allow the audience to have a laugh here and there along with some tender moments.  There is also a side story involving Hannah’s ex, played perfectly by the always reliable Jon Bernthal. He still cares about Hannah and her well-being, but he’s also involved in a committed relationship and has a child on the way with Allison (Medina Senghore).

The bad guys are played by Nicholas Hoult and Aidan Gillen. They do a great job in portraying the villains without trying too hard to where they are over-the-top characters. It is more the threat of violence and their presence. Going back to the overall film, I’ve always enjoyed a thriller which knows how to have a good running time. This film runs at 100 minutes, and there is never a dull moment.  It didn’t need to be any longer or any shorter, and it is fine exactly as it is thanks to the performances, the pacing and the action.  They all work together so well.

I wasn’t quite sure what to expect with “Those Who Me Dead,” but it did remind me what a tremendous actress Jolie is and reinforced the fact that Sheridan is a director who is going to be making more thrilling action films in the future I look forward to watching.  The stakes are high and, as an audience member, we feel that urgency.  He’s also emotionally investing time in his characters, so we are happy to spend time with them.  We are also rooting for them and care about their fate.  This is one of the better films I’ve seen in 2021 so far.

* * * ½ out of * * * *

Blu-Ray Info: “Those Who Wish Me Dead” is released on a single disc Blu-ray from Warner Brothers Home Entertainment. It runs at 100 minutes and is rated R for strong violence and language throughout. It also comes with the digital copy as well.

Video Info: The film is presented in 1080p High Definition, and the picture is crystal clear, bright, and incredibly vivid.

Audio Info: The audio comes in DTS-HD MA: English 5.1, Dolby Digital: English Descriptive Audio, French and Spanish. Subtitles are in English, Spanish and French.

Special Features: Making Those Who Wish Me Dead

Should You Buy It?

“Those Who Wish Me Dead” is a great star vehicle for Angelina Jolie, and she knocks it out of the park. As a matter of fact, the cast, top to bottom, is great and there is not a weak link in it. Finn Little really holds his own in his scenes with Jolie. I don’t think the film works without their chemistry. They have a strong bond together. It’s a gorgeous film to look at, and it’s great entertainment. I highly recommend you pick this film up the next time you are out at your local retailer.  You won’t regret it.  It’s one of the more surprising movies of 2021.

**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

Mad Max Fury Road – One Of The Greatest Action Movies Ever

I re-watched the original “Mad Max” just before I checked this sequel out, and I was amazed at what spectacular stunts director George Miller was able to pull off on a budget of less than $1 million. Even today, the 1979 movie is exhilarating to watch as Max Rockatansky lays waste to the gang of bikers who coldly and viciously murdered his wife and son. After watching it, I had to wonder what Miller could do with an even bigger budget. Of course, we all came to see exactly what he could with the next two “Mad Max” movies as well as with his segment of “Twilight Zone: The Movie,” “Happy Feet” and the highly underrated “Babe: Pig in the City.”

But all of his previous works came close to completely paling in comparison to “Mad Max: Fury Road,” the first “Mad Max” movie in 30 years, which had Miller working with a reported budget of $150 million and giving us the kind of action movie which effectively redefines the words thrilling, exhilaration, non-stop and spectacle. It’s as furious as movies get, and the real lack of CGI effects makes the action feel all the more wonderfully brutal. For a follow-up which got stuck in development hell for what seemed like an eternity, it was well worth the wait.

There’s a bit of confusion as to whether “Fury Road” is meant to be a franchise reboot or a sequel, but even with Tom Hardy taking over the role made famous by Mel Gibson, I’m just going to consider this a straightforward sequel. And like many of the best sequels, this one does not require you to have seen the previous three movies to understand all of what is going on.

Once again, Max travels the wretched wasteland of planet Earth in his car equipped with the kind of horsepower we would love to convince others we have under the hoods of our own cars, and it doesn’t take him long at all to get captured by people who have long since been driven mad by the desecration and lawlessness surrounding them. Max ends up being brought to a place called the Citadel which is ruled over by Immortan Joe (Hugh Keays-Byrne) and his army of War Boys. Max eventually escapes (it wouldn’t be much of a movie if he didn’t) and comes into contact with Imperator Furiosa (Charlize Theron), a hardened warrior who drives a heavily armed truck known as the War Rig. It is eventually revealed that Furiosa has absconded with Joe’s Five Wives, women selected for the purpose of breeding, and Joe will stop at nothing to retrieve what is now considered Earth’s most valuable property: no oil, not water, but human bodies.

“Mad Max: Fury Road” wastes no time in putting the pedal to metal as it is essentially one long chase movie which never lets up. The plot is fairly thin, but it’s still thick enough to support the tremendous action sequences which involve some of the craziest stunts and crashes this side of a John Woo or a James Cameron film. Seeing real cars actually crash and get demolished provides us with the visceral thrills I don’t get enough of at the local cinema these days. The fact Miller was able to give us such an amazing spectacle even at the age of 70 more than raises the bar for the next generation of filmmakers who have a lot of catching up to do.

I do have to admit I’m a little bummed Gibson didn’t return to play Max. It’s certainly not hard to understand why he was absent this time around, but coming back to play the role which made him a worldwide star would have been the icing on the cake for “Fury Road.” Having said that, Hardy does a terrific job of making this iconic role his own, and he proves to be furiously mad in his own crazy way.

But seriously, “Mad Max: Fury Road” really belongs to Charlize Theron who steals the show as Imperator Furiosa. There should be no doubt as to how phenomenal an actress Theron is as she has given us amazing performances in “Monster” (and no, the makeup did not do the work for her), “North Country” and “Young Adult” and she deserves far more credit than she typically gets. Her toughened up performance as Furiosa brings to mind Sigourney Weaver’s in “Aliens” as she dominates the special effects in a way few actors get the chance to do.

When it was released, many said “Fury Road” had a strong feminist angle to it, and they said this as if it were a bad thing. Then again, those who urged us to boycott this movie for that reason still have not bothered to watch it, so their hypocrisy remains as infinite as ever. What they need to understand is women cannot and should no longer be considered the weaker sex. The fact is they never were.

I also liked how Miller brought back Hugh Keays-Byrne to play Immortan Joe here as he is the same actor who portrayed Toecutter, the villain of the original “Mad Max.” Byrne ends up having to wear this scary looking mask throughout “Fury Road,” so his eyes and his voice do most of the acting for him. But even with these given limitations, Byrne gives us a very threatening and mesmerizing antagonist who is bent on dominating anyone and everyone who has the misfortune of being in his path.

And let’s not forget Nicholas Hoult who plays Nux, the sick war boy who comes to discover what really matters to him in such a desolate world. It’s been fun watching him go from his early days as a child actor in “About a Boy” to where he is presently, and it has been a voyage full of memorable performances. As Nux, he looks to be having the time of his life as he shouts out loud, “Oh what a glorious day!” His energy never lets up from start to finish, and he succeeds in making us care about Nux even though he is not entirely trustworthy when we first meet him.

There are many images here which have stayed with me long after I first saw it on the silver screen. The design of the cars the characters roam the desert in, the Darth Vader-like mask Immortan Joe wears, those guys hanging tightly to totem poles as the vehicles they are tied to travel at breakneck speeds, and, of course, the travelling guitarist known as the Doof Warrior (iOTA) who plays his instrument and shoots fire out of it with reckless abandon. All of this amazing imagery is done to the thunderous score composed by Thomas Holkenborg (a.k.a. Junkie XL) which proves to be as furious as the onscreen spectacle.

It has now been five years since “Mad Max: Fury Road” was first released, and there should be no doubt that it is one of the best action movies ever made. Time has not taken away from the pure adrenaline rush Miller provides us here, nor does the frustration of him losing the Best Director Academy Award to Alejandro G. Iñárritu who won instead for “The Revenant.” For an action movie, this one is a real work of art.

Seriously, there is something to be said for a movie which brought cinematographer John Seale out of retirement to work on it.

* * * * out of * * * *

‘Dark Phoenix’ is the Worst ‘X-Men’ Movie Yet

Dark Phoenix movie poster

“X-Men: The Last Stand” has long been treated as the bastard stepchild of the “X-Men” franchise. The Brett Ratner-directed take on “The Dark Phoenix Saga” was sharply criticized by both fans and critics, and it took quite the beating from everyone it seemed including Bryan Singer who left the “X-Men” franchise to direct “Superman Returns,” and Matthew Vaughn who was set to direct this one before dropping out. “X-Men: Days of Future Past” helped wipe the slate clean by altering the timeline to where the events of “The Last Stand” no longer existed. And let’s not forget the scene from “X-Men: Apocalypse” where characters were walking out of “Return of the Jedi” which they felt paled in comparison to “The Empire Strikes Back,” and Jean Grey ends up saying, “Well, at least we can all agree the third one’s always the worst.” Please do not try to convince me this was not a jab at “The Last Stand.”

Now we have “Dark Phoenix,” the twelfth installment of the “X-Men” franchise, and it aims to give audiences a more faithful adaptation of “The Dark Phoenix Saga.” It also marks the directorial debut of Simon Kinberg, a long-time screenwriter in this franchise and someone eager to make up for the mistakes made in “The Last Stand.” With this being the last installment of the 20th Century Fox-produced “X-Men” franchise now that Disney owns Fox and plans to incorporate these characters into the Marvel Cinematic Universe, this one has to be the penultimate sequel of the bunch, right?

Nope, not a chance. With “Dark Phoenix,” Kinberg has given us the worst “X-Men” movie yet. While has a strong cast and excellent special effects to work with, the narrative is badly conceived, the screenplay is muddled, characters actions are ill-defined, and it features the blandest set of villains this franchise has ever had. While these movies have in general proven to be tremendously entertaining, I walked out of this one feeling very indifferent to it as the whole project feels inescapably dull and anti-climatic.

It’s a real shame because “Dark Phoenix” gets things off to a good start as we learn how Jean Grey came to be more or less adopted by Charles Xavier (James McAvoy) after her mutant powers inadvertently get her parents killed in a nasty car accident. From there, the story moves to 1992 when the X-Men fly into outer space to rescue astronauts after their space shuttle is damaged by a solar flare. But in the process, Jean Grey (played by Sophie Turner) absorbs the solar flare in her body and looks to have been killed. But after being rescued, she appears to be just fine, and soon she realizes her psychic powers have been amplified to an infinite degree. It’s like the scene in “Wolf” where Kate Nelligan wakes up Jack Nicholson after he’s been asleep for 24 hours. She asks how he is feeling and Nicholson, with a Cheshire cat grin, replies, “I feel ah… Good!” Yes, and so does Jean until the two separate personalities within her begin to fight with one another and leave a lot of damage which will have insurance agents scratching their heads in disbelief.

From there, everything in “Dark Phoenix” feels routine to the point where I got increasingly weary while watching it. We have been done this road before in the “X-Men” franchise before, and Kinberg fails to bring anything new or fresh to this material. This installment also lacks the powerful emotion which made the best “X-Men” even more enthralling than they already were. A major mutant character is killed off in this one, but this death was already spoiled in the trailers to where the loss feels hollow.

Jennifer Lawrence, who returns as Mystique, does have one good scene in which she chews out Professor Charles Xavier for getting caught up in all the celebrity hoopla foisted upon the X-Men for their heroic efforts they have done. She is quick to remind Charles how the women have at times been the most heroic of the bunch to where she wonders if X-Men should instead be called X-Women. Yes, score one for the Me Too and Time’s Up movements!

Other than that, Lawrence and other actors like Nicholas Hoult and Alexandra Shipp, both of whom return as Beast and Storm, don’t look terribly interested in reprising their roles. Things get even worse as alliances keep shifting back and forth and in ways which seem completely contrived. There was also plenty of laughter throughout the press screening I attended, and I have no doubt most of it was unintentional.

Then there are the villains of this piece, the D’Bari who are a shape-shifting alien race intent on obtaining the power Jean Grey now has. They are led by Vuk (Jessica Chastain, completely wasted here), and they are some of the most banal antagonists in recent cinema history. All of them look as though the life has been completely sucked out of their bodies to where I can’t help but say they each had too many Botox treatments. This alien race leaves very little to the imagination, and they are far from memorable.

Coming out of “Dark Phoenix,” I spent a lot of time wondering how something which came with a lot of promise could have gone so terribly wrong. It also makes me feel sorry for Kinberg as I have no doubt he came into this project with the best of intentions, but the road to hell is always paved with them. Everything here feels very tired and ill-thought, and having Magneto (Michael Fassbender) come back into the action after someone close to him has been killed made my eyes roll as this has always been the case with this character. Didn’t Magneto learn anything from the previous two installments?

What also infuriated me is that “Dark Phoenix” does not provide Quicksilver (Evan Peters) with a rescue scene set to a classic 1990’s song. “Days of Future Past” had this supersonic character saving his fellow mutants to the 1970’s song “Time in a Bottle” by Jim Croce, and “Apocalypse” had him doing the same thing to the tune of the Eurythmics’ 1980’s classic “Sweet Dreams (Are Made of This).” I came into “Dark Phoenix” expecting Quicksilver to do his hypersonic rescue thing to a 1990’s classic song, but no such luck. It could have been something by Nirvana, Pearl Jam, Soundgarden or perhaps Nine Inch Nails (“Head Like a Hole” would have been a great choice). Heck, they could have even used “Dyslexic Heart” by Paul Westerberg.

It’s no secret of how troubled the production of “Dark Phoenix” was. Thanks to poor test screenings, the entire third act had to be reshot. Its release was delayed a number of times as a result, and even though Kinberg describe the reshoots as being a “normal” process for any movie, none of them helped to salvage the cinematic mess we have here.

This is also the first “X-Men” movie not to feature Hugh Jackman as Wolverine as he had played the character for the last time in “Logan.” Indeed, Wolverine is the missing link here as his romance with Jean Grey gave the story much of its emotional power. This same level emotion is seriously missing here as we reach a conclusion which is never really in doubt. Then again, having Jackman romancing Sophie Turner would have seemed a bit strange.

For the record, I liked “The Last Stand,” but I have also never read the Marvel comic books it was based on. Had I done so, perhaps my feelings on Ratner’s film would have been different, but I still found it to be an entertaining ride from start to finish and with emotion to spare. Even if it paled in comparison with the first two “X-Men” movies, it still fared much better than the prequel which came after it “X-Men Origins: Wolverine,” and I did not care for that one much. While I know fans and filmmakers were eager to see a more faithful adaptation of “The Dark Phoenix Saga” come to fruition, the fact this is a complete failure makes it a stunning disappointment and the first real letdown of the summer 2019 movie season. Fans of the franchise will still go out to see “Dark Phoenix,” but the most fun they will have is in analyzing everything wrong with it.

My only hope with “Dark Phoenix” now is that it can drum up interest in the long-delayed stand-alone “X-Men” movie, “The New Mutants.” That one has seen its release delayed for over two years, and 20th Century Fox can only hide it next to the Lindberg baby for only so much longer.

* ½ out of * * * *

‘The Favourite’ is Fantastic and a Sinful Delight

The Favourite movie poster

The Favourite” is the second period film (the other being “Mary Queen of Scots”) I have seen in a week which plays around with historical facts to present us with something which could be more interesting compared to what happened in reality. Thankfully, director Yorgos Lanthimos has not besmirched the advertisements with the terms “based on a true story” or “inspired by actual events” as neither are necessary and would be a severe detriment to the finished film. Instead, he uses history to explore the power dynamics of people who are eager to maintain their place in life, sometimes at the expense of others. When you lose your place in society and have to fight your way back up the social ladder, you will eventually discover you are more devious than you led yourself to believe.

“The Favourite” takes us back to 18th century Britain during the reign of Queen Anne when the British were at war with the French. Queen Anne is played by Olivia Colman, and she makes this historical figure into a wonderfully eccentric human being who finds great glee in racing geese with her friends or playing with her 17 rabbits, each one representing a child she had later lost. She is also beset by a terrible case of gout which has her moaning and wailing in extraordinary pain during the night, and it is only with the help of her many servants that she can get through the day. When it comes to governing, however, she is not really inclined to do so.

Anne’s closest confidant proves to be the Duchess of Marlborough, Sarah Churchill, played by Rachel Weisz. Sarah is more than comfortable with the knowledge that she is the one ruling over Britain as she passing on her confidences and advisements to the Queen. We also eventually learn the two are lovers who share in secret trysts together when the rest of the world isn’t watching. It makes one wonder if love is what’s keeping them together, or if the quest for power conquers everything else.

Into the picture comes Abigail Hill (Emma Stone), Sarah’s cousin whose good name was ruined by her father due to his gambling problems which had him selling her off to a German to settle debts. Poor and desperate for work, Abigail pleads with Sarah to give her a job, and she gets what amounts to an entry level position as a maid where she does the most menial of chores. While scrubbing the floors, she endures a chemical burn which proves to be almost as bad as the one Brad Pitt gave Edward Norton in “Fight Club.”

“The Favourite” gets off to a fantastic start as it introduces the main characters with relish, and this includes Robert Harley (Nicholas Hoult is fantastic), the Earl of Oxford, who is infinitely eager to get the inside coup on the Queen’s plans before they are made public. But the movie really hits its stride when Abigail begins to ingratiate herself not just with Sarah, but also with Queen Anne. It starts with Abigail finding herbs to ease the inflammation in the Queen’s legs, and from there she insinuates herself into the Queen’s life and her bed.

The scenes between Stone and Weisz in which they shoot birds for sport is sinfully delightful as they subtly test one another to see where their vulnerabilities lie. When guns are aimed in directions which threaten their existence or get blood on their faces, its to let the other know they are to be taken seriously and not be trifled with. Not once do either of them have to tell the other “don’t mess with me” or “be careful where you tread” because their actions prove to be much louder than words. Still, it doesn’t stop either from trying to get the upper hand, and they do have their own unique ways of pulling this off.

Weisz has one of her best roles to date here as Sarah as she struggles to maintain her power in spite of Abigail’s deceitful intentions. Just watching her face makes one see how much she enjoyed portraying a character who reveled in a power very few people could ever hope to have without being of royalty. Of course, when the tables turn, her face tells a different story, and I admired how subtle she was in making these painful realizations so subtle and yet deeply felt at the same time. Not once does Weisz mug for the camera or go over the top as she does just enough to show how her world is crumbling slowly but surely.

Stone could have stood out like a sore thumb here, being the sole American actor here among so many Brits. But what surprised me about her performance is how English she appeared to where it almost took me a bit to recognize her. Not only does Stone fit perfectly into this ensemble of actors with what seems like relative ease, she pulls off a remarkably effective English accent. Like Weisz, she is also subtle in the ways of showing her power, and the way she infiltrates the Queen’s home and her life is great as she makes sleeping nude with Queen look like flipping the bird to her flabbergasted opponent.

But let’s face it, “The Favourite” truly belongs to Colman who gives a tour de force performance as Queen Anne. The English actress has appeared in such movies as “Hot Fuzz,” “The Iron Lady,” and Kenneth Branagh’s “Murder on the Orient Express,” and there is no forgetting her after watching her here. Coleman takes this character from ecstatic comedic heights to dramatic depths as she makes this Queen a basket case but also a leader who will rise to the occasion when her rule is threatened (or when Sarah or Abigail lead her to believe so). In her last scene, she makes clear who is in charge as the movie’s title is called into question.

This is the first Yorgos Lanthimos directed movie I have seen. I was hoping to watch “The Lobster” one night with my family, but no one could decide on what to watch other than the opening sequence of “Spectre.” Lanthimos has done a skillful job of making this far more than the average stuffy period movie to where his inclusion of an Elton John song over the end credits doesn’t feel out of place in the slightest. Being a comedy drama, the balance could have easily been uneven, but that’s not the case here as this movie feels perfectly realized. If there any flaws to be found, they probably won’t come up until long after you have walked out of the theater.

I saw “The Favourite” with my parents, and they found it to be a bit weird. True, it’s ending is abrupt as it dissolves into a collage of images to where you wonder what exactly is being said. But I loved watching the power plays between the characters who are rendered not as caricatures, but as human beings driven to extremes for one reason or another. It makes me wonder why certain people can become so selfish to the point where the needs and feelings of others do not matter in the slightest. However, I reminded of a lyric from the Peter Gabriel song “Family Snapshot:”

“If you don’t get given you learn to take, and I will take you.”

* * * * out of * * * *

X-Men: Days of Future Past

X Men Days of Future Past poster

Okay, let me get it out of the way now; “X-Men: Days of Future Past” is not only the best “X-Men” movie since “X2,” but it is also the most entertaining and emotionally powerful film of the franchise to date. For a while, it seemed like the series peaked as the succeeding sequels and prequels were critically maligned to where you wondered if this particular superhero franchise had finally overstayed its welcome. But with Bryan Singer, having been led away by Superman and a giant slayer among others things, back behind the camera again, everything feels fresh and invigorating again, and it’s hard to think of another “X-Men” movie which can top this one.

“X-Men: Days of Future Past” starts off in a very bleak future where sentient robots known as Sentinels have exterminated most of the mutants as well as those humans who have helped them. Not much is left which leads me to believe that in the process of protecting humanity, humans ended up destroying themselves by creating the Sentinels. Time is running out for the remaining X-Men which include Charles Xavier/Professor X (Patrick Stewart), Erik Lehnsherr / Magneto (Ian McKellen), Ororo Munroe / Storm (Halle Berry), Kitty Pryde / Shadowcat (Ellen Page), Bobby Drake / Iceman (Shawn Ashmore) and of course Logan / Wolverine (Hugh Jackman), and they hide away in a Chinese monastery and prepare to use the only method they can to save all of humanity: time travel.

Charles explains to Logan of how they need to prevent the assassination of Bolivar Trask (Peter Dinklage), the military scientist who created the Sentinels, by Raven Darkhölme / Mystique (Jennifer Lawrence). While it is completely understandable for any mutant to hate Bolivar with a passion, his assassination ends up making him a martyr and Raven gets captured and experimented on to where the analysis of her mutant powers help to make the Sentinels all the more effective. So Logan, with the help of Shadowcat, ends up traveling back to the year 1973 to stop Raven from killing Bolivar as he is the only one of the group who can withstand the rigors of time travel. But just when you think this is going to turn into the usual time-travel flick, it becomes anything but.

What I love about the “X-Men” movies are how they focus on character as much as they do on visual effects. The mutants are treated as the outcasts of society, and we feel their pain at being excluded for who they are. Singer understands this pain, and it makes his return to the franchise all the more welcome. Also, there’s something bigger at stake than changing the course of events in time, and that’s preserving hope. While Morgan Freeman said in “The Shawshank Redemption” of how hope is a dangerous thing as it can drive a man insane, the mutants (the good ones anyway) thrive on it because they know no one can live any other way. Even in the darkest of times, they strive to make the world a better place for all of humanity. You feel the weight of the choices they are about to make, and it produced moments which truly left me on the edge of my seat.

After playing Wolverine for so many years, I figured Hugh Jackman would be sick of the character as he remained a moody son of a bitch in. But the great thing about Wolverine this time around is how he and Charles Xavier essentially trade places. In the previous films, Charles was always trying to get Wolverine to look past his anger and bitterness to embrace a better path in life, and now Wolverine has to do the same for Charles. When we catch up with the younger Professor X (this time played by James McAvoy) in 1973, he is a broken man who has regained the ability to walk (don’t worry, there is an explanation) and has become more comfortable being a functioning alcoholic instead of being a teacher. His school is now empty since the Vietnam War took away many of his students, and he spends his days hanging out with Hank McCoy/Beast (Nicholas Hout) who tends to his needs.

In some ways, Jackman looks really invigorated this time around as Wolverine proves to be the source of hope the other characters desperately need. He still remains the Wolverine we all know and love, and it’s a lot of fun watching him interact with the cast members of “X-Men: First Class.” Both McAvoy and Michael Fassbender, who plays the younger Magneto, once again make these iconic roles their own without the shadows of Stewart and McKellen hovering over them. It’s also great to see Hout and Jennifer Lawrence back as well as both actors make Beast and Mystique more than just a couple of mere supporting characters.

It’s also great to see a lot of veteran “X-Men” actors here as I was afraid we would never see them together again in the same movie. Stewart, McKellen, Berry, Page and Ashmore make their welcome returns count for every second of their screen time. And yes, Anna Paquin does make an appearance as Marie/Rogue. She’s only in the movie for a little bit, but at least she didn’t get cut out of it completely.

The screenwriter of “X-Men: Days of Future Past” is Simon Kinberg, and it is based on the famous comic book by Chris Claremont and John Byrne. For a time, I thought this was going to be your typical time travel movie where everything hinges on a pivotal moment in human history, but Kinberg has a few surprises in store for us as the story doesn’t stop at the moment we expect it to. The characters are acutely aware of the ripple effects they can cause in the history of things, and there’s no time wasted on showing how out of place they are in the 70’s as they always seem to be out of place in everyone’s eyes regardless of the decade.

There are also a bunch of new mutants joining the party this time around, and the one which stands out the most is Pietro Maximoff /Quicksilver who is played by Evan Peters. Peters is a gas to watch as his character moves at supersonic speeds around everyone, and he injects a good dose of humor into the proceedings. Singer also features Quicksilver in one of the movie’s most ingenious sequences which is scored to the most unlikely of songs. Seriously, I don’t want to spoil it for you, but it has to be seen to be believed.

Another standout performance in “X-Men: Days of Future Past” is Peter Dinklage’s as Bolivar Trask. Like any good actor, Dinklage keeps Bolivar from becoming another one-dimensional villain as he infuses the character with an arrogance and blind ambition which makes him all the more dangerous. Bolivar believes deeply in what he is doing as he feels it is right, and you come out of the movie pitying him. This is a character who has struggled all his life to get the respect he feels he deserves, and he never gives much thought to the consequences of his actions.

I also got to give kudos to Richard Camacho who plays President Richard Nixon. After watching Frank Langella portray this American President in “Frost/Nixon,” I wasn’t sure I ever wanted to see another actor play Nixon again as anyone else would have simply played him as a caricature. But I was surprised to see how good Camacho was because he didn’t give us the usual Nixon as this movie would have suffered as a result.

But in many ways, the biggest star of this “X-Men” movie is Singer himself. Regardless of his current legal predicament (I’m not even going into that here), he makes a comeback of sorts with this entry as his last few efforts have seen him lose his touch as a filmmaker. No, I haven’t seen “Jack the Giant Slayer,” but I have yet to hear my friends say anything good about it. But just as he did with the first “X-Men” movies, he does a terrific job of balancing out the visual effects with character development, and what results is the most emotionally satisfying comic book blockbuster I’ve ever seen. “Captain America: The Winter Soldier,” which was really good, set the bar high, but Singer surpasses it by a wide margin with this installment.

After watching “X-Men: Days of Future Past,” you will agree that “X-Men: Apocalypse” can’t come soon enough. Seriously, “The Amazing Spider-Man 2” only dreamed of being this good.

* * * * out of * * * *