X-men Days Of Future Past Rogue Cut Full Movie Download [WORK]

In a dystopian 2023, robot Sentinels hunt and kill mutants and humans who either possess the genetic potential to have mutant offspring or try to protect them. In Moscow, they attack X-Men survivors: Kitty Pryde, Colossus, Blink, Warpath, Bishop, Iceman, and Sunspot. The mutants sacrifice themselves to buy Kitty enough time to send Bishop's consciousness a few days into the past to warn the others of the coming attack and ensure their survival.

At a ceremony where Nixon unveils the Sentinels, the three search for Raven. Lehnsherr appears, activates the Sentinels, and barricades the White House with the RFK Stadium. During the battle, Lehnsherr impales Logan with rebar and throws him into the Potomac River. Nixon, Trask, and a disguised Raven retreat to the White House Bunker. However, Lehnsherr rips the bunker out of the building with the intention of killing everyone inside. In 2023, the X-Men make their last stand as an onslaught of Sentinels attacks the temple. Many mutants perish while trying to buy more time. In 1973, Raven reveals herself and subdues Lehnsherr with a plastic gun, saving Nixon and his cabinet. She attempts to kill Trask but Xavier telepathically convinces her to spare him, leading the public to believe that a mutant saved the president. As a result, the Sentinel program is decommissioned, altering the timeline and erasing the dark future of 2023 from history. The mutants in the past depart separately; Trask is later arrested for selling military secrets to foreign governments.

X-men Days Of Future Past Rogue Cut Full Movie Download

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In the Rogue Cut, Rogue's role is more consequential, and the narrative is more complex: when Kitty Pryde is accidentally wounded after Wolverine's consciousness experiences a phase between past and future from seeing Stryker in 1973, Bobby Drake (Iceman) proposes breaking into the heavily guarded remains of Cerebro at the former X-Mansion, the one place where Xavier's mind cannot reach others from the outside, in order to rescue Rogue, who is being held captive there. Xavier, Magneto, and Iceman succeed in rescuing Rogue, but at the cost of Iceman's life. Rogue uses her power to take over for Kitty in regards to keeping Wolverine's mind in 1973, for the remaining time until the moment history is changed, with a suggestion that Wolverine is aware of the switch as he appears to feel Rogue's presence. The Sentinels are able to find the X-Men through a tracking device inside a Sentinel's hand that was severed from the X-Jet during their escape. In another major scene, Mystique stops at the X-Mansion the night before the Sentinel-unveiling ceremony, revisits her previous romance with Beast, and destroys Cerebro the following morning in order to prevent Xavier from finding her. A new mid-credits scene shows Bolivar Trask imprisoned at Magneto's former prison cell beneath the Pentagon for selling military secrets to foreign countries.

In contrast, Robbie Collin of The Daily Telegraph rated the film two stars out of five and called the plot "a curate's egg, thoroughly scrambled". He concluded, "The film squanders both of its casts, reeling from one fumbled set-piece to the next. It seems to have been constructed in a stupor, and you watch in a daze of future past".[187] Simon Abrams, writing for RogerEbert.com, gave the film two-and-a-half stars out of four, calling it a "visually driven and paint-by-numbers plot". Abrams was critical of the undeveloped subplots that built up because the film's pacing left little time to develop each element of the story set in the 1970s.[188]

The juxtaposing of the two break-in sequences, both led by the same character but at different ages, is also a terrific way to show us both sides of this complex character. And there's a call-back thematically to the very first film, due to who is leading this break-in and who is being rescued, not to mention the subtle point about why she's being sought in the first place. It's all a reversal, and having it transpire in the future while we cut back to scenes of the rescuer at the moment when he's still becoming his "former self" who would eventually commit the crimes of the first film, adds layer upon layer to the meaning and import of not only the future sequence but the placement alongside the sequence set in the past.

Primarily shot on Arri's Alexa line of digital cameras, this is an exceptional looking picture, offering great clarity and dimension. The digital source is mostly clean and pristine, but there are occasional spikes of grain-like noise in certain scenes and natural grain in a few 8mm and 16mm shots. The image offers a great sense of fine detail, highlighting every whisker on Wolverine's face and the picture carries a pleasing sense of depth. The future post-apocalyptic scenes feature an appropriately gloomy aesthetic with somber blues and greys. In contrast, the 1970s scenes offer a lot more pop and a slightly retro palette, playing up the time period. Whites are bright without clipping and blacks are deep and inky while maintaining good shadow delineation. While the majority of the presentation is free from any pesky digital artifacts, I did notice some very minor banding/compression in dark portions of the screen during the movie's opening scenes.

Nicely detailed and free from any major technical issues, this is a very impressive transfer, bringing the X-Men, past and future, back to the screen in style.

'X-Men: Days of Future Past' proves to be one of the best films in the franchise, brilliantly blending past and future into an epic story full of action and comic book thrills. Though the new 'Rogue Cut' has slight pacing concerns, this extended version features some cool new scenes that fans should enjoy. Like the previous disc, the video transfer and audio mix here are both fantastic, offering an immersive technical presentation. The new supplements are also strong, including two commentaries, but we do lose most of the special features from the last disc and there is no 3D option here. Still, with both cus of the film and a great making of doc, this is definietly the best 2D release to buy -- and it even serves as a solid double dip for fans who already own the last disc. Highly recommended.

In a grim future in which mutants and their human sympathizers are systematically hunted and killed by towering, unstoppable robots called Sentinels, Wolverine travels back in time to prevent mass genocide in X-Men: Days of Future Past. This deftly scripted and unusually affecting installment of the long-running series is marked by the notable return of director Bryan Singer (X-Men, X2: X-Men United), who succeeds in delivering a film that ranks among the very best of the franchise. The film opens in a dark and desolate future that was set in motion in 1973, when brilliant scientist Dr. Bolivar Trask (Peter Dinklage) created a series of giant robots called Sentinels for the sole purpose of wiping out mutants, whom he claimed were a direct threat to the human race. Though initially programmed solely to target mutants, the Sentinels soon began eradicating humans who possessed the DNA to breed mutants, and eventually, any mortal mutant sympathizers. Desperate, Prof. Xavier (Patrick Stewart) and Magneto (Ian McKellen) devise a plan to have Kitty Pryde (Ellen Page) send Wolverine (Hugh Jackman) back to the year when Mystique (Jennifer Lawrence) assassinated Trask -- it turns out that Mystique inadvertently accelerated the Sentinel program when she was subsequently captured by Sgt. William Stryker (Josh Helman), who succeeded at harvesting her DNA to make the robots more powerful than ever before. Upon arriving in the past, Wolverine quickly seeks out a much younger Charles Xavier (James McAvoy), as well as Beast (Nicholas Hoult) and Quicksilver (Evan Peters), and together they help break a young Magneto (Michael Fassbender) out of a heavily fortified prison cell hundreds of feet beneath the Pentagon. Meanwhile, with the help of Havok, Ink, Toad, and Spike, Mystique is already moving in for the kill. Although Wolverine, Beast, Charles, and Magneto manage to thwart the assassination, Charles and Magneto once again find themselves at odds after the latter attempts to alter the plan at the last moment, creating a mass panic during a post-Vietnam War peace summit in Paris. And Dr. Trask, still fuming from having had the Sentinel program rejected by Congress, takes his proposal directly to President Nixon (Mark Camacho), laying the groundwork for an even darker future than the one Wolverine was sent back to prevent. Between the time-traveling, the globe-trotting, and the plethora of characters both human and mutant featured in X-Men: Days of Future Past, it's something of a small miracle that the film doesn't dwarf The Wolf of Wall Street in terms of running time. Despite the challenge of telling a story that's genuinely epic in scope, screenwriter Simon Kinberg manages to incorporate all of these daunting factors into a script that's impressively lean yet rich in detail. Practically all of the key players are given satisfying story arcs that are true to their characters' personalities and motivations, allowing us to connect with them on an emotional level. Of course, it helps that a talented cast has been tasked with bringing these characters to life, and thanks to some of the most talented actors and actresses of their generation, each of their arcs possess the appropriate gravity. Fassbender and Lawrence in particular are incredibly engaging as the rogue mutants whose blinding rage prevents them from seeing the consequences of their actions, and Dinklage is deeply compelling as the man who fails to grasp the terrifying implications of his unrelenting xenophobia. It's his character who serves as the lens for Kinberg to explore the psychology of fear that has fueled horrific atrocities such as the Holocaust, and that is never quite as far from reality as some would like to believe. Much like Wolverine's mission, it all could have fallen apart so easily without a sense of focus, but Singer, returning to the franchise for the first time since 2003's X2, crafts a sequel that stands shoulder-to-shoulder with the best of the series. Opening with a spectacular sequence that dares us not to blink as it introduces a nightmarish new threat, he is at the top of his game in terms of action, using spatial relations and special effects in ways that make the threat to the mutants unequivocally terrifying. Still, as any perceptive director would, Singer wisely softens the tone following the intensity of the incredibly grim introduction, emphasizing character development and humor as Wolverine arrives back in the early 1970s -- especially in a showstopping scene in which Quicksilver helps to break Magneto out of the Pentagon. By disarming us with these sequences, Singer and Kinberg allow us to focus on the characters and their relationships -- both crucial components when it comes to reinforcing the film's central themes of actions and consequence. At a time when comic-book fatigue is as much a threat to the box office as the Sentinels are to the mutants, Singer's ambitious sequel not only reinforces the strengths of the series that helped to kick off the millennial superhero-movie trend, but also maintains that, at their best, these films can be more than just mindless entertainment. 2351a5e196