Almost palpable fug of sour alcohol increases from wild-bearded, unkempt man asleep on the back seat of a battered limousine. A loud thud caused by members of the gang, trying to steal his rims, his rheumy, bloodshot eyes of the spring, and Logan, aka Wolverine, aka James Howlett, said, for the past 17 years, Hugh Jackman, pronounced his first word of James Mangold’s new X-Men spin-off. It is not printable here. But the four-letter word is a red herring. If you think that the salt water tongue Mangold’s primary means of proof permissive limits of the film for adults-only, R-evaluation, moments later he sends most derision and gang members via a maximum of gory a half pallet of them through the head, the throat, the splash of detail.
Logan expects us to take seriously – and in fact, we can
As the last of them slips out of his adamantium claws to the earth, we are not even halfway through the opening credits. This is Mangold by stating that not only his film will differ from his last time at the helm with 2013’s The Wolverine, will be different from all the Marvel movies that have come before – if not from a superhero movie in general. It will be different even from Deadpool, the foul-mouthed hit of 2016, because there is no joke, no wink to the camera, without a destination flourish to let us know that this is all just a bit of malarkey. Definitely dark, with an air of challenge, dirty and very depressing, Logan is intentionally devoid of a sense of humor, and he expects us to take it seriously. The surprise is that, for the most part, we actually can.
For the purists of the genre, can be disconcerting to see comic book movies classified as science fiction. And if the X-Men franchise, about the genetic mutation, it is perhaps more of a request for that designation than, for example, Thor, the great arches and simplistic good vs evil binary of the superhero films often do not lend themselves to thoughtful curiosity that is a hallmark of the best science-fiction film. It would be exaggerating to say that Logan reaches sci-fi heights – there is a standard-issue British Evil Scientist (played with pale-eyed zeal by Richard E Grant), a character with a terminator arm (Boyd Holbrook, a good value in a relatively small role) and an albino mutant (Stephen Merchant in a rare and surprisingly decent dramatic performance) of which the photosensitivity is so extreme that he will burst into flames in the sun like Nosferatu. So, you know, this is not the Solaris Tarkovsky.
The father-daughter mutant duo that kill together stay together
But Logan does not go against the grain, favoring the melancholy mood and the themes of mortality and a deterioration in the more inflated, the end-of-the-world stakes, and great action pyrotechnics. That said, the fight scenes are extremely creepy, especially when half the time is that a child who is the slicing and dicing.
The X factor
According to the plot is 2029, and no new mutant is born for many years. Faulty and alcoholic Logan is scraping a living as a limo driver and take care of a deterioration Professor X (Patrick Stewart), the degenerative disease makes his “weapon of mass destruction” the brain potentially large-scale lethal unless he remains under heavy sedation. Logan is approached by a woman who asks him to take her and her daughter Laura in North Dakota, but there are mercenaries attacked a genetic research corporation, led by Pierce (Holbrook), on their tracks. Laura, in fact, is a mutant, constructed in a laboratory, and the nature of his mutation suggests that Wolverine’s DNA was the key ingredient. So, despite an almost pathological reluctance to get in the game, Wolverine is drawn into the role of protector, so that the screenplay, co-written by Mangold, Scott Frank and Michael Green, has always been overly sentimental, while still providing the film with what little of a high emotional level. The father/daughter mutant duo who slay together, stay together, after all.
Logan darkness is not simply an aesthetic filter as in Batman v Superman
Logan darkness is not simply an aesthetic filter, as was the case with Zack Snyder, Batman v Superman: Dawn of Justice; it issues from within the character. It is ironic that the title shares DNA with the famous campy 1970’s sci-fi film, Logan’s run, where people are considered obsolete in the 30’s and killed. In his way, Logan is just as pitilessness of the aging process, and Jackman’s battle-scarred, stiffening of the body is as expressive in this regard, as his perma-scowl of a face. It is taking him longer to heal, his eyes are never clear, and one of its claws do not fully extend. This makes it less Logan, more Logan’s Limp. Is broken, a superhero we have ever seen, and for the first time, his body brings the outer witness to the inner torture that has always defined him. His body is the story.
There are flaws, of course. At 135 minutes, the film is unnecessarily long, especially when a long digression in the midst of feels so inorganic. And considering the relentless dourness, and the series of downbeat turns the story takes, it poses the question: How bleak is too bleak? How many head stabbings are too many head stabbings? As standalone can a movie be and still refer to the continuity of the larger cinematic universe? As doom-laden mortality can a film portray and still be a superhero movie?
In a cinematic age of product homogeneity, there is no doubt that Logan is a risky project. But this is reported Jackman’s last time wearing the claws and chewing on the cigar. Considering that it was the Wolverine, at the centre of Bryan Singer’s X-Men (2000), which has launched the currently ubiquitous superhero phenomenon, in the first place, perhaps the most appropriate thing would be that, with the brutal, melancholic elegy that is Logan, the Wolverine, the remake of the superhero movie again, this time as a farewell.