"Logan" Review

Title: Logan

Directed by: James Mangold

Written by: Scott Frank, James Mangold, and Michael Green

Year: 2017


In my opinion, the X-Men franchise has been on the upswing ever since X-Men: First Class hit theatres in 2011. I feel that First Class, The Wolverine, Days of Future Past, Deadpool, and Apocalypse are all great movies and shining examples of the comic book genre. However, the latest film in the franchise, Logan, seems to be going about things very differently, presenting itself as a hard-hitting drama much like The Dark Knight did in 2008. Is Hugh Jackman's final turn as Wolverine a sharp and fitting end, or a dull stab in a new direction?

The year is 2029, and mutants are nearing extinction. Logan has aged and his healing abilities are not what they once were. He must care for a deteriorating Charles Xavier who is slowly losing his mind. However, an opportunity to escape the world arrives in the form a little girl, Laura, who is also a mutant. With an evil organization chasing after her, the trio is now on the run, with Logan having to come to terms with his own mortality.

Before I talk about the film itself, I find it absolutely necessary to mention the trailers. Logan had a perfect marketing campaign in my eyes. Both of the trailers are two of the best I have ever seen. The scenes that were shown gave you a slight taste for the film, hinting at the tone without revealing anything major. There were no title cards or text stating how important the film was with such cliché lines like "one last time" or "his true destiny." Instead, we were shown the title and the release date, allowing for the images to stand on their own. And the musical choices were nothing short of perfect, possibly being the best part of the marketing. Flawless.

As for the film itself, Logan sets out to be a depressing and heartbreaking character piece for the Wolverine, and a sendoff for Jackman. The picture sees Logan slowly dying because his adamantium skeleton is poisoning him, while also causing a degenerative effect on his natural healing factor. This is a clever way to make an otherwise immortal character vulnerable. Also important to note is that Logan is, first and foremost, a western. The way the characters are written and the themes the film deals with are all highly common in the western genre. This is made even more apparent when the 1953 classic Shane appears on the television. Logan is very much the Unforgiven of the superhero genre, with both films sharing incredibly similar traits and subverting their respective categories.

Jackman has played the titular character for 17 years now, making this his most iconic role. This picture also marks the final time Jackman will be donning the famous claws; and what a film to end with. Jackman gives the best performance I have seen from him, overflowing with emotional resonance and undisputed commitment. His passion for playing Logan truly transcends the screen and affects the audience on a deeply spiritual level. The external notion that this is Jackman's final time playing Wolverine certainly plays a part in the film, as it immediately instills a sense of sadness in your mind. Opposite him is the esteemed Patrick Stewart, reprising his role as Charles Xavier. Much like Logan, Charles is not in the best of health, succumbing to seizures that unleash his dangerous telepathic powers. Stewart gives his best performance as the professor, emphasizing the character's grief and weariness over the current situation in a devastating manner.

However, this film also introduces us to some new characters, the most notable being Laura, played by Dafne Keene. The young Keene makes her cinematic debut in stunning fashion. The character of Laura calls for an extensively physical performance, and Keene blows this qualification out of the water. Her ability to hang with such heavyweights as Jackman and Stewart and even steal the scene from them on more than a few occasions (all without saying a single word) is beyond noteworthy. Boyd Holbrook portrays the main antagonist who goes by the name of Donald Pierce. Holbrook evokes a magnetically despicable presence that plays to the character's favor. What could have been an easily forgettable villain is instead bolstered by great dialogue and a strong performance on Holbrook's part.

James Mangold, who also directed 2013's The Wolverine, is at the helm here. You can tell Mangold's storytelling was a bit restricted in The Wolverine, mainly because of the PG-13 rating. However, with Logan, the R-rating has liberated him. I am not saying that excessive gore and profane language make a good movie, but it can certainly elevate the material, and that is exactly the case with Logan. This film is brutal in its portrayal of violence and uses swears and f-bombs naturally. This all aids in enhancing the bleak mood of the story, and Mangold has crafted quite the tale.

Taking inspiration from the "Old Man Logan" series of comics, Mangold expertly paints a gritty, dystopian future where mutants are essentially an endangered species and the familiar faces have aged drastically and tragically. The setting is a character in itself, and is an excellent backdrop for the powerful character study contained within the 137 minute runtime. The film has Logan face his impending death in a decidedly complex approach. Although he is experiencing excruciating pain, he does not care whether he dies. However, he continuously struggles to protect those few that he cares about, giving his life purpose even when he seems indifferent to his fate. Logan's mortality was certainly a focal point for The Wolverine, but here it is taken to the next level, illustrating the character at his most vulnerable yet also at his most ferocious. The savagely hypnotic action sequences are perfectly juxtaposed with the slower, poignant character moments.

This movie is very much about the smaller moments. Moments like when Charles and Logan are discussing family, and the former repeatedly asks "What did you do?" or when the main trio is having dinner with newfound friends and all three are smiling (a rarity in this film) are minor scenes but muster up a massive presence. Instances like these where not much is said but so much is conveyed are abundant throughout the picture. There is definitely a hefty amount of dialogue, but Logan prioritizes visual storytelling and its characters over all else. You know you have a gripping story when the characters and plot are more impressive than the action, which is nothing shy of excellent by the way.

The film has the appropriate amount of action scenes; enough to satiate the audience, and enough so that they do not overshadow the story. The movie opens with Wolverine tearing down some thugs in cold-blooded and bloody glory, immediately setting the stage for future fights. Later on, there is a well-handled and white-knuckled car chase. But the action highlights are when Wolverine goes into berserk mode and shreds everyone in sight, especially when teaming up with the young Laura, who shares his mutation and badassery. Another aspect I wish to compliment is the variety of the action; no two sequences are alike, which helps keep the kinetic beats fresh and interesting.

This movie prides itself on its dramatic story and underlying emotions, and rightfully so. Without question, Logan is the most emotionally resonant superhero film made to date. The relationships between the characters and the tragedy visually told in the backgrounds is all masterfully evocative. Do not be fooled by the label "superhero movie" or "comic book film"; this picture is tearjerking when it wants to be. It will punch you in the gut and then twist unflinchingly. The film aims to be memorable in powerful ways, and not a single misstep is taken in achieving that goal.

One benefit of posting this review quite late is that I am able to comment on the black and white version of the film known as Logan: Noir. In short, it is even better than the original. This version is drenched in a chrome coating that emphasizes the desolate landscape and dismal tone even more than the colorized format did. The lighting also seems to receive an upgrade, being much more noticeable and more indicative of certain themes, as well as just making the film look absolutely gorgeous. Certain scenes even feel completely different despite being unchanged. This desaturated variant of the film is better in every regard, with one exception. The blood in the action sequences is not as noticeable, making them only slightly inferior to those in color when it comes to showcasing brutal violence. But I think it is a worthy compromise.

No doubt followers of mine have gotten tired of my repeated use of this phrase over the past few years, but Logan truly is one of the best superhero films ever made. Last year, I gave Captain America: Civil War the distinction of being in the top three of the genre. But I must revoke that title and award it to Logan instead. This picture has wonderfully three-dimensional characters; outstanding performances; an impactful and appropriately depressing story; beautiful cinematography and fitting music; spectacularly bloody action sequences; an ethotic presence unlike any other film within the superhero genre; and sends off Jackman and Stewart on the highest of notes. This is not only a brilliant example of what the comic book genre is capable of, but also a fantastic western in its own right. A triumphant masterpiece.

Grade: A+