Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Peter Dinklage
Just when it seemed like Fox was engineering a smart reboot of its X-Men franchise with “First Class,” the series’ original director, Bryan Singer, has returned to combine the old with the new in “X-Men: Days of Future Past.” That’s not exactly bad news for fans who appreciate the lengths that Singer has gone to in an attempt to fix the continuity issues within the X-movies, but by doing so, he’s tethered the prequels to the earlier films in a way that ensures they’ll never be able to exist on their own. And considering the potential of where the franchise was headed prior to this “sidequel,” it’s a little disappointing to see Singer turn his back on that initial vision. Granted, there’s still quite a bit to like about “Days of Future Past,” but it feels more like a step backward than the creative leap forward that Matthew Vaughn’s prequel pointed towards.
In the near future, mutants are being hunted down by advanced versions of Sentinel robots that can instantly adapt to any situation, making them impossible to defeat. With only a handful of X-Men remaining, Kitty Pryde (Ellen Page) uses her powers to send Logan’s (Hugh Jackman) consciousness back in time to his younger body circa 1973 in order to reunite Charles Xavier (James McAvoy) and Magneto (Michael Fassbender) for a single purpose: stopping Mystique (Jennifer Lawrence) from murdering the creator of the Sentinel program, Dr. Boliver Trask (Peter Dinklage), in the hope that it will alter the course of history. Meanwhile, the X-Men from the future must hold off an impending Sentinel attack to provide Logan enough time to complete his mission, although that’s much easier said than done.
Taking modern technological paranoia to its logical next step, the Bryan Singer-produced digital series “H+” takes an interesting, non-linear approach to its apocalyptic future storytelling. Created by John Cabrera, best known for his work as an actor on the popular television series “Gilmore Girls,” the series takes place in a near future in which 33 per cent of the world’s population has opted to have a device implanted into their bodies that connects their minds to the internet 24 hours a day. When a mysterious virus crashes the system, large portions of the world dies instantly, and the series primarily follows a few desperate survivors in an airport parking garage, while simultaneously cutting back and forth in time to various points before and after “it happened.”
“H+” is designed to be watched in any order, as each episode takes place in a different time and space, allowing viewers to stick with the mainstoryline in the parking garage first if they choose. This storyline begins with Julie Martin (Nikki Crawford) and her husband driving to the airport “5 minutes before it happened.” As they are making their way out of the parking lot, all hell breaks loose as the system crashes and people begin dropping like flies, cars and planes crash, and the automated sprinkler system goes off all over the garage. Only Kenneth Lubahn (David Clayton Rogers) seems to know what’s going on, telling the others they should be safe so long as they remain on the lower level of the garage where the signal is out. Med student Francesca Rossi (Lela Loren) works with him to save Julie’s husband, who has also fallen victim to the virus despite being in the same underground area as the rest of the survivors.
Meanwhile, the series flashesback to Helsinki, Finland, “7 years before it happened,” where Digital Crime Unit officer Topi Kuusela (Samuel Vauramo) begins to fall for Manta (Hannah Herzsprung), a mysterious target he has been assigned to follow. It is unclear so far what exactly her connection is to H+ Nano Teoranta, the company that manufactures the implants, but with an estimated 48-episode run, it is clearly just getting started. The first 14 episodes are available now on YouTube, with new ones premiering on Wednesdays. It’s hard to tell so far if “H+” will live up to the promise of its premise, but its high production values, mysterious time-jumping narrative style and intriguing, multinationalsubplots make it seem well worth watching to find out.