For seventeen years and nine films, Hugh Jackman has delighted us with his portrayal of beloved comic book character Wolverine. Perhaps the most impeccable casting decision in modern franchise cinema, Jackman has taken the character from rebellious rogue to reluctant hero, from tortured drunkard to bold leader. Now comes Logan, Jackman’s farewell to Wolverine and the X-Men franchise, and we’re all hoping it sticks the landing.
Logan takes place in a near future where nearly all mutants have disappeared and stopped being born. His healing factor diminished, the exhausted Wolverine scrapes by as a driver for hire while caring for telepath Charles Xavier, who’s gone into hiding. One day, someone requests Wolverine’s services, dragging him into the danger he’d tried so hard to avoid.
I’m being vague on the premise because I knew very little plot-wise going into Logan, and that’s how I think this film is best viewed. I’ve been a fan of the X-Men franchise since the first was released back in 2000. I even enjoy the shit ones like The Last Stand. What’s more is that it kick-started my interest in “superpower” stories.
Logan is by no means a conventional superhero story – it’s a small scale, human drama where a few people happen to have powers. Think Jessica Jones – dark tone and themes, a few superpowers, and entirely character-driven. It’s like nothing you’ve seen before, especially not in a big franchise film. It’s worth seeing for that reason alone.
At the centre of this moody story is Wolverine – or rather, what’s left of him. He’s old, haggard, and worn down over decades – centuries – of conflict and torment. He lumbers about baring a face that speaks of more pain than his broken, scarred body. If there’s an argument against immortality, it’s Logan.
And once again, Jackman nails it. His commitment to this character is why we love him – he’s likeable, he’s badass, he’s complex. But more than that, Jackman’s understanding of Wolverine is why his character arc is one of the most fleshed out and satisfying in franchise cinema history.
Never before has Wolverine’s trauma been presented so viscerally. Logan is a mature story that makes full use of its R rating. This is a film about people on the edge. There’s little hope left for anything. There are moments during action scenes where I wonder: “Even if they get out of this jam, what’s the point anymore?” Getting me to lose hope for a character I love is probably the highest bit of praise I can give Logan.
But there’s a bit more to Logan that’s adult themed aside from its miserable, agonising atmosphere. That’s right, let’s talk action. Logan is gloriously violent, never once holding back on what it might actually look like should a man with giant metal claws get into a fist fight. Gratuitous? Yeah, a little. But I never felt like it wasn’t earned. The man has been through some horrifying stuff. Logan actually gives us a taste of it.
It isn’t all perfect, though. As much as I enjoyed the patient storytelling, nearly always choosing character building over action, there are a few lulls throughout and especially towards the end of the second act. I’d have liked a tighter edit to help propel the plot forward. Even with its runtime over two hours, I again never felt like it wasn’t earned. As I said, Wolverine’s story is nine films long. He’s earned some indulgence.
Logan is, at last, a mature superhero film that we can take seriously. It’s a drama story with a few incredible action scenes. Despite being slightly too long, I can think of no better send-off for this beloved character.
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