If Get Out sold us short on the trailers, then Logan reset the balance. We know it’s Hugh Jackman’s final outing as Wolverine, and the arrival of young girl in the said trailers indicates X-23 is likely to be brought into the X-Men cinematic universe. It’s also clear we’re heading for a serious drama, less superhero feast. Knowing all this doesn’t detract from what we’re given.
Many are saying we should thank Deadpool for Wolverine getting – at last – an adult movie. Let’s face it, his previous two solo outings were subpar. And that’s being nice about it. The studio told director James Mangold and Hugh Jackman to make the film they wanted. Why don’t studios just do this all the time?
We find an aged Wolverine in a future where mutants are a distant memory. The disappearance of those with special abilities is explained clearly. Richard E. Grant’s Zander Rice has developed the vaccine earlier X-Men films fought against. He describes getting rid of them no different than curing Polio outbreaks.
The aging of Wolverine is a little less clear. We’re led to believe that perhaps it is the adamantium slowly poisoning the body, acting as a cancer. This just doesn’t wash with me. Sorry. But he’s had it long enough to dispel that theory. However, we have excused the fact his adamantium magically reappeared at the end of Days of Future Past so we can just accept the idea he’s not in the best of shape.
Neither is Professor X. He’s being kept locked away in a metal container, on lots of meds, to protect the world from his brain. See, it’s a massive problem if your head is classed as a weapon of mass destruction but you’re suffering from Alzheimer’s Disease. Logan’s joint carer for Charles Xavier is Stephen Merchant’s Caliban.
Quick segue here, so Tómas Lemarquis played Caliban in the very average X-Men: Apocalypse. The two versions in no way can be married up. It’s effectively a different character with the same ability (they’re trackers, in Logan, Caliban is captured and used to track the escaping Wolverine(s) and Professor X). It raises the question: Is Logan really canon?
It feels like a set-up for a continuation or a spin-off but could remain standalone. The future of mutants is preserved because Zander Rice has been attempting to weaponize strands of DNA with powers. Hence the arrival of the excellent Dafne Keen as Laura, or X-23, or future Wolverine.
As the story unravels, and Logan tries to get Laura to her meeting place, we realise some of these children have been saved from the clinic. The displays of abilities are the only let-down of the movie. They are clearly working to a tight budget and it betrays the feel of the majority of the film. The legend of the X-Men has made it to comic book form, which Logan explains is overblown nonsense.
The idea the reality was grittier fits the grittiness we see for the first three quarters of the story.
The only other problem is the appearance of a younger, healthier Weapon X. The film didn’t need cheap parlour tricks to slow Logan down. But it does offer a mirror on his growing and real humanity. So perhaps it was a good move?
The catalyst and reason for Logan to open up to his feelings is, of course, Laura. She steals scenes without using words. As there ever been a child actor so expressive and effective? Not to mention kick-ass bad. She’s determined and also vulnerable, she needs Logan’s love.
Charles Xavier also prods the conscious of Jackman’s character. Here it is touching as we see two old friends, with years of history, care for one another. Logan looks after his body and protects his mind. Not just from destruction but the truth of some unknown atrocity Professor X is guilty of committing.
In return Charles reminds Logan he is good. He can be saved.
The tone of Logan is perfect and as the main X-Men franchise loses its spirit and becomes more and more the mindless blockbuster it once stood apart from, this is a reminder that the best comic book films are the ones with heart.
It is graphic in parts. The stall is set out in the first scene when Logan places his claws through the skulls of carjackers. But it is never played for the sake of shock. It’s a movie trying to be honest.
Patrick Stewart announced on The Graham Norton Show this would also be his last film connected to the X-Men universe. By the end, you can understand his reasoning. There’s nothing a future film maker will be able to offer that bests this complete picture.
It is a passing of the torch. In Dafne Keen’s hands, it’ll be carried safely.