Logan
Directed by:
James MangoldCinematography:
John MathiesonComposer:
Marco BeltramiCast:
Hugh Jackman, Patrick Stewart, Boyd Holbrook, Dafne Keen, Stephen Merchant, Richard E. Grant, Eriq La Salle, Elise Neal, Elizabeth Rodriguez, Doris Morgado (more)VOD (4)
Plots(1)
In the near future, a weary Logan cares for an ailing Professor X in a hide out on the Mexican border. But Logan's attempts to hide from the world and his legacy are up-ended when a young mutant arrives, being pursued by dark forces. (20th Century Fox)
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Reviews (20)
The more raw, the more mature. The comic equivalent of the Unforgiven / Gran Torina, in other words thank God it's not an adaptation of Old Man Logan, but an uncompromising advanced neo-western road movie from the department of "no change that things will go better, we just need to last till our death". It's just another Eastwood movie about the autumn of the life of an icon tortured by inner demons, only the footage is unreasonably long.
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Everything has a price - Singer knew it at first. And Mangold is now paying her interest on all the excesses, cardboard, digital cotton wool and unfinished work. Brutal, explicit, socially dystopian, yet very nostalgic and sensitive to the characters that the film undresses from leotards and impales them with deadly diseases, coughs and doubts. No, Mangold is not an elite director. Sometimes the dark tone is on the brink of exaggeration, sometimes you can really see inside of it, but in the last shot it hit me as deeply as any other X-Men movie. It is in a way an e-Revolution. Logan uses it not only for vulgarisms and unusual anatomical clarity, but also for opening up a very unhappy vision of the future, in which heroism is just a dull memory from scuffed comic books. America in 2029 built from hints, but very current hints. Children of Men in a superhero version. Logan hurts. And that is good. A film for pessimists who can't stop believing.
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What they promised us, that's what we got. Logan is more than a dignified farewell for Hugh Jackman and his most famous role, and finally a film that fans have been calling for for years. The rough action scenes, without much emphasis on nice choreography, and where extreme physicality and animal fierceness prevail, are very cool, but it is more of a drama than an action film. And a damn good one at that. The people behind this film understood that the announced "maturity" is not achieved through headshots and severed legs, but through characters and their behavior. Logan has never been this broken and interesting, and what happens to Professor Xavier is something you won't find it amusing at all, and the young Dafne Keen is an acting discovery on par with Haley Joel Osment. Add to that the excellent music, the western atmosphere, and the extremely intense finale, and you get one of the most interesting comic book movies ever made, which deserves to stand alongside The Dark Knight. A few years ago, we wouldn't even dare to hope for a film like this.
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There are many movies to give audience a chance to understand the character of Wolverine. In general, we all know what Hugh Jackman’s intentions were. Still he was one of the first superheroes to appear in Hollywood in the late 1990s and deserves tremendous respect for it. However, after all these years with Wolverine, I understand very well why the creators wanted to end Wolverine's movie journey. Once and for all. Until this day, I haven’t fully comprehended the films’ right order. True, I never really tried to find out but the movies didn’t make it easy for me either. Fortunately, the premise is very clear in this movie and it is not difficult. Quite the opposite. Hugh Jackman said his goodbyes with style, of course, so you can expect to see a great action ride with a main hero who in this film convinced me why I should never forget him. Thank you, Wolverine, and good bye!
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“There's no living with a killing. There's no going back from it.” Deadpool (and before it, for example, Kick-Ass) used an R-rating for infantile silliness. Logan is an adult drama with Oscar ambitions (which are overly obvious in places) in which someone occasionally gets their head ripped off. Symbolically, Wolverine, which seventeen years ago was instrumental in getting Hollywood to take comic-book movies seriously, now graphically exemplifies the evolution that the genre has undergone over the intervening years. Only time will tell how much of a game-changing film Logan will be as it closes one phase and opens another (as was the case with westerns such as The Wild Bunch). ___ Despite its sweeping runtime, the film stays much more grounded than other superhero flicks. It tries to win viewers over with a small cast of believable characters with understandable motivations rather than with epic action (the action scenes are not only very raw and “earthy”, which is aided by the low camera position, but unfortunately also rather chaotic). Unlike Nolan’s Batman movies, the narrative is very straightforward, as it stays with the main character’s point of view throughout, which, however, it manages to use to its advantage. ___ Logan is a portrait of a world that has stopped believing in heroes and happy endings. People distrust each other and consider a loaded gun to be the only valid argument. Power is in the hands of corporations involved in the military-industrial complex, for which people (especially poor people) are just another deductible cost item. Jackman’s burnt-out renegade, who no longer cares about anyone or anything, gives a face to this social lethargy (or bad mood, if you prefer). Like Clint Eastwood in more than one role, all he has to do is look irritated and say the words “shit” and “fuck” between his clenched teeth. The film adheres to the slogan that children are our future, but these children are characteristically the offspring of immigrants and, furthermore, mutants (i.e. “others”), which is to say people who are doubly unwanted in today’s America. The promised land, then, is naturally Canada. ___ James Mangold is probably the first director who has been able to fully exploit the potential of superhero narratives to comment not only on the universal battle between good and evil, but also on the times in which we live (again, there is a parallel with westerns, which began to be used for the purpose of commenting on the present sometime in the 1950s, when Shane, which is quoted in Logan, was made). Unlike earlier films such as The Dark Knight Rises and Captain America: The Winter Soldier, Logan involves more than just a few allusions to the current political situation; Logan is riddled with social malaise, which is apparent in the melancholic tone and the meditative pace of the narrative (which, however, is always kicked up a gear by the next action sequence). ___ I don’t recall ever experiencing a comic-book movie so intensely, let alone having it resonate within me for so long. Perhaps that’s because of my current mood, or maybe because of this day and age in which such sincere stories about the fact that we have to help each other make sense. In any case, I would not be angry (or surprised) if this uncompromising settling of accounts with the genre became the kind of classic that, for example, Unforgiven is today. 90%
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