Pop quiz: how do you end a superhero? I’m not talking about killing a superhero, I mean taking a character the world knows and loves and simply saying “alright, show’s over”? How do you send off a figure with so much baggage and so many travels behind him? Regardless of what you come up with, it’s never going to be clean. Whether it’s having him disappear into the sunrise or having him quietly admit his faults with a slow dance, there’s no easy way to drop the curtains on a comic book hero at the movies. And if anyone is the antithesis of easy in the superhero movie universe, it’s most definitely Wolverine. Marvel’s brooding blitzkrieg of rage and self-loathing has been as fused with pop culture in the last two decades as the adamantium that coats his skeleton, so you can imagine that he’s not going away quietly. But just because we’re sad to see Wolverine go, that doesn’t mean he’s leaving unscathed.
Logan’s title star (Hugh Jackman) is now in the year 2029 as a grey-haired lumbering shell of his former self stuck near the border of Mexico driving around drunk prom teens and bridal showers. His claws ache, his healing is practically gone, and he’s only getting by with copious amounts of liquor. He’s also caring for Professor Xavier (Patrick Stewart), who deteriorating mental state causes his telepathy to go haywire unless he’s heavily medicated and monitored by an albino mutant tracker (Stephen Merchant). But then Logan has an unwelcomed passenger; a young girl named Laura (newcomer Dafne Keen) who doesn’t talk much but lets her claws speak for her. It turns out she has a lot in common with Logan, and he has to protect her from a secret organization looking to mass-produce mutant soldiers.
Props go to co-writer/director James Mangold (Walk the Line) for managing to successfully shift Logan from the samurai shuffle of Japan in 2013’s The Wolverine to the dirty, grim, sunsoaked American south of Logan. It would be easy to call Logan more of a Western than a traditional superhero movie, but that depends on your definition of a Western. Logan’s definition of a Western is much closer to the blood-dripping excess of Django Unchained than The Good, the Bad, and the Ugly. From the opening scene onward, every action scene hits like a sledgehammer to the chest with limbs severed, blood splattering walls, and Logan’s claws visibly piercing the heads of multiple bad guys. It’s glorious overkill, even if it loses some of its fun by the film’s climax and when Mangold has trouble having the camera keep up with the rapid choreography. Not to mention the god awful scenes when Professor X has seizures that causes everyone to become paralyzed and the cameraman to have a stroke. But even amongst the shakey cam are some truly gorgeous shots by cinematographer John Mathieson (Gladiator, X-Men: First Class) and Mangold does capture the emotionally hefty moments throughout. Once the movie slows down and gets to catch its breath, Mangold finally lets the audience see the wheezing, limping man that Logan is and how dire the situation is. That’s when the audience is reminded why this movie is a big deal.
Unfortunately, the audience has to wait an hour to feel that purpose. Before then, they sit through a surprisingly rushed first half hour where the film’s setting is lazily set-up and characters are awkwardly introduced. The film also enjoys its R-rating with curse words abound and not just from Logan (a cussing Patrick Stewart is a wonderful Patrick Stewart, FYI), but doesn’t leave for any clever dialogue and instead some rushed exposition. The first hour of Logan has its moments and builds the interesting elements of a story, but it’s so rushed and forced that you just want the movie to take its time. It’s almost aimless, but the rest of the 137-minute movie finally starts to tell why Logan is in this predicament. This isn’t just another adventure Logan is reluctant to take on, this is Logan on the verge of death trying to find the tiniest reason to get up in the morning, let alone flex his claws. It’s such an emotional ramp up that you almost think the first half was for a completely different movie. In fact, it’s the comic book elements from the X-23 and Old Man Logan storyline that distract from the emotional core of the movie. You just wish that Logan would stay as far away from the comic books as possible and feel more like its own special salute to this character that Jackman put so much of his time and effort into.
Speaking of Jackman, some actors do superhero movies for a multitude of reasons (money, career revitalization, desperate ploys to relevancy). But Jackman has always cared about Wolverine, taking so much time out of his life to make Wolverine a true character more than a toy. And in Logan he takes a bow the way a true actor does, by leaving it all on the screen. Jackman aches and breaks in the role, showing more raw emotion in Wolverine than ever before. Equal parts pain and macho power, Jackman truly understands the development of Wolverine throughout these movies (timelines be damned) as someone who has no more guard left to put up. He truly sends his version of Logan off with proud salute to the character and the fans who’ve stuck by him.
He also leaves some room for his supporting players. Patrick Stewart is great as always, with a fouler mouth and somehow a kinder soul to Logan. Stewart also says that he’s done with the Xavier character, so it’s nice that he gets to bring a little more aged agitation to the role before he exits stage left. And then there’s Dafne Keen, mostly mute throughout the movie but uses her cold but curious stares (and some expressive eyebrows, by the way) to speak volumes. She’s a good mirror for Logan’s character and gives him the reason for his explosive catharsis, along with being very capable of handling animalistic rage (when her claws come out, she becomes the star). It’s a shame that Stephen Merchant gets wasted here, as someone who could’ve brought some great dark comedy to the movie.
Despite the presence of a cocky Boyd Holbrook (Gone Girl, Narcos) with a gold tooth and robot hand and a slithering Richard E. Grant (Dracula, Corpse Bride) as a sinister experimental doctor, there doesn’t seem to be an intimidating antagonist in the movie. Both characters are more plot motivators to get to Logan’s last stand. There’s no threat in Logan and very little sense of heightened tension. The movie’s action goes 150 mph from the get-go that you wish it was spaced out a little bit more to add more heft and awe to the impressive but, by the end of the movie, routine climax. As much as I enjoy someone’s head getting blown off, it really hits home if its sudden or cleverly built-up. To bring up Django Unchained again, that movie’s shootouts work so well because Tarantino spaces them out so far between each other to build anticipation for it. It’s great that Logan goes all out with its action and when you first see it, it’s absolutely sublime, but there’s a reason you save your special attack on Super Smash Bros. for the last life.
Maybe this is my fault, maybe I succumbed to internet hype machine and expected Logan to be a perfect movie. Or maybe I misread the reviews and the fan hype: Logan is a perfect WOLVERINE movie, but that does not mean it’s a perfect movie, period. Logan is an absolute trainwreck, a speeding, flaming, bloody bullet that’s crash landing is as worthwhile as all the bodies it went through to get there. It goes too fast sometimes, its punches get numbing after a while, and its manic energy is sometimes too much to properly capture. But it’s impossible not to salute Logan for diving head-first into absolute carnage and going all-out with the violence and the gloom. No matter the scars or damage there is to the final product, you take Logan as it is: one last hurrah from one of the most iconic movie characters of the last two decades and the man so utterly committed to that character. Mr. Jackman, we salute you and you blood-soaked knuckles.