Hugh Jackman dons the CGI claws one last time as the mutant Wolverine for the brutal and sobering Logan, which is as startling a left turn into dramatic territory for the superhero genre as last year’s Deadpool was for the comedic sides of things. The X-Men series has always been attuned with the more fantastical and frivolous trappings of comic book fare –often the glut of superpowers across its myriad of characters can seem arbitrary and sometimes a bit silly– but the character of Wolverine has always been treated with more weight and seriousness in the film adaptations. It’s not surprising, then, that Logan feels like a culmination of the more mature themes that the character has established and is a perfect send-off for Jackman’s iteration of the brooding berserker.
Set in 2029 after the X-Men have disbanded and any remaining mutants are mysteriously absent, we follow an aging “Wolverine” (he just goes by Logan now) as he wastes his days as a nondescript limo driver in Texas while also caring for the now brain-damaged Professor Xavier (Sir Patrick Stewart). After meeting with a desperate new client, Logan reluctantly accepts a job to transport a young girl named Laura (Dafne Keen) to a location nicknamed “Eden” in North Dakota, which allegedly provides safe haven for those with special powers. While on the road, they are pursued by the devious Donald Pierce (Boyd Holbrook) and his mechanically-enhanced henchmen from the shady corporation Transigen that’s behind other “manufactured mutants” like Laura.
Director James Mangold, also responsible for the excellent 2007 remake 3:10 To Yuma, envisions this chapter in Wolverine’s story as a modern-day Western about a man whose lifetime of suffering and regret has finally caught up with him as his ability to heal fades away. His unrelenting focus is on the human side of these seemingly impervious superheroes, who we’ve previously seen manage incredible acts of courage and strength but now struggle just to get through each day as their bodies continue to fail them. The effects of their ailments can manifest themselves in exaggerated supernatural form–for instance, Xavier’s dementia triggers seizures that create a kind of “psychic earthquake” for those who surround him–but Mangold also gives equal attention to the constant necessities of sleep and sustenance (and, yes, bladder relief) along the way.
Aside from being an overt, Shane-referencing Western, Logan also functions as a throwback road movie with a sci-fi twist that has shades of superb contemporaries like Midnight Special and even the time-traveler Looper at the heart of its story. At times, it feels like a contrasting character study between two men dealing with the inevitability of time in polar opposite ways; Xavier with a sense of quiet humility and Logan with a great deal of bitter resentment. Most important for fans of the series, though, this is an uncompromising, R-rated action feature that will satiate the bloodlust of hardcore Wolverine fans who have been denied the ultra-violent carnage that the PG-13 films previously kept at bay.
Even if this is used as a justification for the gratuitous and, dare I say, needlessly excessive action scenes, I still found the film to be more exhausting than exhilarating in the execution (pardon the term) of its combat. The opening scene, in which Logan confronts a pack of would-be car jackers, is well-choreographed and tightly edited but every subsequent scene of claw-imposed brutality begins to feel redundant and tedious throughout its punishing 140 minute runtime. Still, there’s plenty of other creative elements at play during Logan, in addition to a pair of terrific performances by Jackman and Stewart, that make it a worthy swan song for the Wolverine.