Vulnerability. Mortality. Irrelevance. These are rarely prominent superhero themes, but they’re all on masterful display in Logan. Unrestricted by its R rating, the latest addition to the long-running X-Men series is easily its bleakest and most brutal. Although brief moments of humor exist, they’re exceptions in a depressing narrative, complemented by Marco Beltrami’s chaotic and moving score. If these are indeed their final portrayals of Wolverine and Charles Xavier, Logan is a hell of a way to go out for Hugh Jackman and Patrick Stewart.
As far as the world is concerned, things were much worse in the Sentinel-infested nightmare the X-Men faced in Days of Future Past. However, some years after that movie’s cathartic ending, mutants once again face extinction, just a much less violent kind as mutant births have inexplicably stopped. Mutants have gone from a major public threat to a tired news item. “It’s 2029. Why are we still talking about mutants?” asks a radio host. Those hoping for a detailed explanation will be disappointed. The cause is hinted at, but the reveal of the culprits and how they did it is ultimately not that important. Evil scientist Dr. Zander Rice (Richard E. Grant) and smarmy head mercenary Donald Pierce (Boyd Holbrook) are adequate, but Logan‘s villains are distant secondary characters by the script’s design. It’s more about two long-time characters coming to terms with old age in a post-mutant world.
Logan has been down in the emotional dumps before, only this time he’s also deteriorating physically, and not just temporarily like in The Wolverine. Time has finally taken its toll on our hero’s signature healing ability, and his action scenes take on a newfound element of suspense now that he can’t simply shrug off bullet and stab wounds. With no PG-13 barrier, there’s no shortage of adamantium claws going right through skulls, along with other violent acts that leave little to the imagination. Some will also appreciate the novelty of hearing Logan and Xavier spew a generous share of “fuck”s. While the scope of Logan‘s major set pieces is limited compared to earlier films, they are not any less intense or compelling, due to director James Mangold’s capable hands and how much the audience is invested in the main characters.
No longer the steadfast leader we’ve been used to, Xavier is afflicted with dementia and prone to incoherent ramblings and recurring seizures with potentially deadly effects on anyone within walking distance. Logan and Xavier’s quasi father-son relationship has reached a dreaded endpoint – the ill and caretaker. The mutant struggle has long stopped being among Logan’s concerns; he only cares about keeping the professor properly medicated and getting enough money to buy a yacht for the two of them to escape to sea. This plan is put in danger when he crosses paths with Laura (Dafne Keen), a young girl with familiar physical gifts and a whole bunch of bad people pursuing her.
Jackman and Stewart deeply convey the vast history of an onscreen duo that debuted 17 years ago. As they interact and reference events from past movies, one really gets a sense of how far they go back. We can feel Xavier grasping at fleeting moments of purpose in his life, as well as Logan’s reluctance in doing the same. Newcomer Dafne Keen is very impressive in a role with limited dialogue, effectively expressing herself through vicious physicality, feral screams, contemplative stares, and cries of sadness. Together with Logan and Xavier, she forms an intriguing makeshift family. This is reinforced during scenes of Xavier and Laura watching Shane, the Western classic that features a similar aspect. It may be too late for Logan to find complete redemption as he reflects on his violent legacy with tremendous regret and self-loathing, but Laura represents the best opportunity fate has to offer him.
Logan‘s narrative beats are fairly predictable; by the third act it’s not particularly hard to guess where the story is headed. This is not necessarily a weakness. In this case, the journey matters more than the destination and the execution is superb. From its dour setup to its poignant last moments, Logan packs an emotional punch rarely seen in the superhero genre, and stands among its finest examples. It’s unlikely we’ll see something like it any time soon.
Dogomon 