First the bad news: “X-Men Days of Future Past” (20th Century Fox/Marvel) is yet another example of the unnecessary overuse of 3-D. The few scenes in which it is best utilized would probably be as effective in 2-D. Also, newly-out actress Ellen Page is completely wasted as Kitty Pryde, whose powers of intangibility extend to assisting others to travel through time. It’s too bad she can’t travel back in time to tell the screenwriters what a corny idea that is and ask them to better explain the morphing of her abilities.
Here’s how the time travel in “X-Men Days of Future Past” (get it?) works: in the not too distant future, an army of indestructible sentinels, invented by mad government scientist Trask (Peter Dinklage), whose sole function is to hunt down and obliterate mutants, is getting closer to achieving its goal. In a last ditch effort to prevent that from happening Logan/Wolverine (Hugh Jackman with his obligatory bare chest and ass) is sent back to the 1970s to prevent the reprobate Raven/Mystique (Jennifer Lawrence) from assassinating Trask, thereby rewriting history, especially for the hunted and misunderstood mutants.
The time travel element allows both the present/future version of Charles Xavier (Patrick Stewart) and Erik/Magneto (out actor Sir Ian MacKellan) to appear on-screen together, finally putting their long-standing differences aside. It also permits new and expanded insight into what went wrong in their relationship, in the early 1970s. Logan/Wolverine, the only one built tough enough to withstand the potential dangers of such time travel is sent back to 1973 where he first convinces the young, damaged and defeated younger Xavier (James MacAvoy) of the purpose of his quest. Joined by Xavier’s mentee and personal caretaker Hank/Beast (Nicholas Hoult), they set out to free an imprisoned youthful Erik/Magneto (Michael Fassbender), who has been found guilty of assassinating JFK (don’t ask!).
In the movie’s best scenes, the ones that combine dazzling special effects and brilliant humor, the velocity skills of Peter/Quicksilver (Evan Peters) are enlisted to assist in Erik/Magneto’s Pentagon prison break. This section alone makes it worthwhile to sit through the more than two hours of seat rattling bombast. What follows is a series of exotic locales, from China to Vietnam to Paris, as well as a considerable amount of time spent in Washington DC and environs, and a race against time to stop the shape-shifting and determined Raven/Mystique from carrying out her mission. Certainly not the worst installment in the series, it’s far from the best (that honor goes to the very queer “X-Men 2″). Nevertheless, from the perspective of this non-comic book geek, it’s a satisfying serving of early summer entertainment.
A long time in the making (no thanks to Barbra Streisand), the movie adaptation of Larry Kramer’s difficult and devastating “The Normal Heart” (HBO Films) finally premiered on May 25. It’s a fitting debut for Memorial Day Weekend as there are so many friends, family and loved ones who must not be forgotten.
“The Normal Heart” opens in 1981 with the arrival, at the dock, of the boat to Fire Island Pines. Passenger Ned (Mark Ruffalo), a semi-autobiographical character created by Kramer for the play and screenplay, is a writer (of course) who has pissed off more than a few of Fire Island’s regulars for his views on promiscuity, including those he published in a book. Ned, a keen observer of his fellow gay men, remains aloof, although he makes a good effort to partake when necessary. The birthday celebration for Craig (Jonathan Groff), lover of closeted ex-marine/current financial guy Bruce (Taylor Kitsch, who is hereby forgiven for all of his past bad acting choices), is one example. But the festive atmosphere will be short-lived.
Beginning with the touchstone of the New York Times article about a rare cancer in homosexuals, “The Normal Heart” beats hard, loud, fast and erratically. Sanford, a shop owner who recognizes Ned at the doctor’s office, has KS lesions. Dr. Brookner (Julia Roberts) has seen several patients like Sanford, as she tells Ned, but isn’t getting the response she needs from gay organizations. Brookner enlists Ned, and his notorious big mouth, to get the word out about the possible connection between the cancer and sex. Then things really begin to escalate. Craig dies. Ned organizes a meeting with Brookner and members of the community. When it goes badly, Ned “welcomes” Brookner to “gay politics.”
The one high point in Ned’s life is a meeting with New York Times writer Felix (Matt Bomer). Although Ned considers himself to be out of Felix’s league, a romance develops. But this bright light is overshadowed by the increasing number of deaths, the mistreatment of GRID (gay related immune deficiency, an early moniker for AIDS) patients in hospitals, the lack of government funding and the closeted mayor’s dismissal of the crisis.
The 1982 official formation of the Gay Men’s Health Crisis, with Bruce as president is a turning point. Executive director Tommy (a brilliant Jim Parsons) becomes the voice of reason (and much needed humor) during some of the film’s most heated moments. Shortly after the organization holds a successful fundraiser, Ned asks Felix, clearly a stabilizing influence in his life, to move in with him. But Ned’s short fuse and sharp tongue continues to get him, and, by extension, the organization into trouble. Making matters worse, Felix discovers a KS lesion on his foot. If you haven’t already cried a few times at this point during the movie, check your pulse and be sure to have a box of tissues nearby.
As a director, Ryan Murphy is no, say, Mike Nichols. However, he holds his own, even pulling some of his own trademark visual tricks out of his hat. He also gets exceptional performances out of Roberts, whose “holy terror” Brookner is confined to a wheelchair due to a childhood polio infection. Joe Mantello, as Ned’s friend Micky, as well as the aforementioned Kitsch, Bomer, Parsons, and of course, Ruffalo also deliver career-high performances. To his credit, Murphy also doesn’t shy away from the sex, some of which is depicted graphically, a necessary component of the story.
As with HBO’s award-winning adaptation of Tony Kushner’s “Angels In America” (directed by Nichols), “The Normal Heart” is finding its audience not in movie theaters, but in people’s homes. In some ways, that’s probably preferable as “The Normal Heart” is a not-a-dry-eye-in-the-house production. What queen wants to be seen leaving a movie theater with bloodshot eyes, tear-stained cheeks and a runny nose anyway?
Interview with Matt Bomer on his role in The Normal Heart:
