THE NUMBER OF superhero flicks that have played in cinemas over the past decade is so high that the announcement of a new comic book film is more likely to be met with a groan than with approval, even if the film is about a character as popular as Wolverine.
A frustration is that the role of the tough-talking, mutton-chop-sporting, adamantium-and-muscle-bound mutant has too often been reduced solely to slicing-and-dicing, even during his own film series.
Logan, the new film by James Mangold, might have plenty of violence, but thankfully–and brilliantly–it bucks the trend.
At the beginning of the tenth
X-Men flick, our eponymous hero is in a bad way. For one thing he looks a good deal older, and with his advancing years has apparently come the realisation that even the man who freed the slaves couldn’t pull off that facial hair, and that it really had to go. Those hair-horn things have gone too, incidentally. But better late than never, as they say.
The world’s most famous mutant is a limping, coughing shadow of his former self: he’s riddled with arthritis, his eyesight is fading, and the cynicism that the bright young things at Westchester gradually eroded over who-knows-how-many films is more pronounced than ever. He spends his nights drinking like a Hemingway character and driving prom queens and stag parties around in a limo, and his days sleeping off the hangover in a disused smelting plant on the Mexican border. With him in the plant are Caliban (played by a typically droll Stephen Merchant) and an apparently senile Professor X (Patrick Stewart), who must be dosed up to the eyeballs so that he doesn’t have a brain seizure and cause something very bad indeed to happen.
The world’s most famous mutant is a limping, coughing shadow of his former self: he’s riddled with arthritis, his eyesight is fading, and the cynicism that the bright young things at Westchester gradually eroded over who-knows-how-many films is more pronounced than ever.
Meanwhile, the appearance of a desperate woman, Gabriela (Elizabeth Rodriguez), and young Laura (Dafne Keen), threatens to upend Wolverine’s grim existence, and brings into his life the smug and menacing Donald Pierce (Boyd Holbrook).
Logan takes inspiration from the Mark Millar and Steve McNiven graphic novel Old Man Logan, and the very name of the film suggests a return to the grit and the realism and the humanity of the better comics and films. The revival of the superhero genre was borne out of a return to realism in films such as Batman Begins and has since lapsed into crash-bang-CGI silliness, best exemplified by X-Men: Apocalypse, a film so bad you might choose to advise others not to see it with your dying words. It was that sort of film that was mocked so deliciously, and so effectively, in Deadpool. Logan, a film about mutants set in the future, is the most grounded superhero film since Batman Begins. In the intervening periods when Wolverine isn’t earning the film its 15 certificate, Logan meditates on loss and belonging and home, and the tone is set by the beautifully minimalist score of Marco Beltrami. Meanwhile the overarching themes which have always made X-Men so relatable – prejudice and segregation, initially reflecting the civil rights struggles of the late 60s – are addressed by Logan writers James Mangold, Scott Frank and Michael Green with a subtlety that disappeared in recent X-Men efforts.Mangold and his cinematographer, long-time Ridley Scott collaborator John Mathieson, are unsparing in their rendering of the most brutal action sequences in which Wolverine has ever been involved. The camera lingers on every severed head and every chunk of flesh and every lopped-off arm.
At the centre of the film is a touching relationship between Wolverine and Professor X, whose verbal jousts subtly betray an intimacy and affection which is never explicitly acknowledged.
But at the centre of the film is a touching relationship between Wolverine and Professor X, whose verbal jousts subtly betray an intimacy and affection which is never explicitly acknowledged. Their connection is in so many ways familial, and when X tells Wolverine ‘what a disappointment’ he is, there is the sense that it affects him in a way that the words of no one else ever could. Richard E. Grant’s character, the evil scientist Zander Rice, is almost completely superfluous to the proceedings, but his underling, Pierce, is a worthy enemy for our world-weary protagonist, and his merry band of mooks are far more competent and menacing than your usual expendable superhero goons. Special praise must be reserved for eleven-year-old Dafne Keen, whose portrayal of spiky Laura is often purely physical, and who holds her own against series veterans Jackman and Stewart, who are both captivating.And so the curtain comes down on the Wolverine series.
Logan isn’t so much a fitting finale for the series as a fitting finale for one of the most beloved superhero characters in the Marvel universe. Like its title character, Logan is dark and bloody and brutal, but funny and sometimes tender too. Its genre-defying and the superhero film that I–and many others–were waiting for.