True, it is overstuffed, a favorite word used by most critics. Even so, things do coalesce. Bryan Singer as director and Simon Kinberg who crafted the screenplay did very well on this go around by also producing a more muscular film.
While I eventually became uninterested in the original X-Men movies, X-Men: Apocalypse now has me excited and curious to see where this franchise might go, how screenwriters will weave the storyline into recent history, and how its talented cast might reinvent and deepen their characters.
It's the best of the bunch. In a season of crime fighter against crime fighter, super power vs. super power films, this mutant-on-mutant spectacular has the most depth, innovation, majesty and visual wonder.
Having previously flubbed the introduction of a new, younger Professor X and Magneto (James McAvoy and Michael Fassbender, respectively) in X-Men: First Class, the producers clearly wanted to recover a bit of the franchise's mojo.
If you're keeping score at home, of the three Marvel comic-book movies so far this summer (a term I use advisedly for a season that technically doesn't start for another month), X-Men: Days of Future Past outranks Amazing Spider-Man 2 and is about on a par with Captain America: The Winter Soldier.
Where some of Boyle's kinetic, hyper-stylized music video camera approach in Slumdog Millionaire and 127 Hours felt a little out of place, it is perfect in Trance: a techno heist film. I'd almost call it a cyberpunk movie, as it feels plugged into some technological grid.