And in the end, Hugh Jackman got tired of Wolverine long before we got tired of him.
Has any actor been a more faithful superhero? The Aussie first appeared as the long-clawed character back in 2000’s “X-Men”; he’s been in every gathering of the mutants since. Even as other actors cycled in and out of other timelines, he’s remained constant.
Seventeen years. Nine films. That’s a commitment.
Also a great pleasure. Even as the X-films jumped around in time, and space, you could see a growth in Jackman’s Logan character. A bar brawler in the first film, he became a haunted antihero, a Wolfman with sharper claws and deeper guilt.
Which makes this new episode, “Logan,” particularly poignant.
Set a dozen years in the future, it introduces us to a character who is no longer indestructible. He’s limping, and has one of those old-movie coughs that portends nothing good. Wounds don’t heal as quickly now, and he pushes the pain down with alcohol.
Worse? He’s an Uber driver.
But then he gets a call, not to pick up a drunken fratboy, but to help spirit an adolescent mutant out of the country. And he and Prof. Xavier – even older, even sicker – decide these two old superheroes have one last fight left in them.
It’s truly wonderful to see these actors – because, of course, Patrick Stewart joins Jackman for this swan song, playing the brittle but still brilliant Xavier – settle into these old roles. The genuine respect, the teasing affection – not just between characters, but between men – fills the screen.
Interesting too is the spin director James Mangold – who also handled the excellent Logan-in-Japan adventure, “The Wolverine” – puts on the material. He’s always liked Westerns – his NJ-drama “Cop Land” was a kind of modern nod to “High Noon” – and it’s reflected here not only in specific nods to genre classics, but scenes of righteous pioneer families standing up to big business interests.
Some of that is underdeveloped, but then, honestly, quite a bit of this script isn’t quite thought through. If you read the comic “Old Man Logan” you know some of the backstory, but even that’s been changed. And if you only know these characters from the movies, you’ll wonder how Logan and Xavier got to this state, or where the other X-Men are.
There are also a couple of political points that aren’t as subtle as the screenwriters may think, like some half-baked hints about a corn-syrup conspiracy. And while the main storyline certainly gets point for relevance – the mutant is a Mexican refugee, who Logan is trying to hide from evil Americans – it’s also a little obvious and naive. (Really, you think just crossing the Canadian border is going to save her from ruthless paramilitary assassins?)
But the actors are fine, and the violence — taking a cue from the surprisingly influential “Deadpool,” this “X-Men” adventure went for an R rating – is graphically shocking. (While, at the same time, of course, being almost neurotically chaste – terrifying as beheadings and amputations are, apparently for some target audiences, adult sexual relationships are even scarier).
It all ends – well, as it should, without any obvious sequels on the horizon. (Although that young mutant, and the friends she eventually finds, could easily carry their own new series). It feels, in its own way, complete. Sins are forgiven, debts are repaid and the righteous are avenged.
Well done, Mr. Jackman, and Godspeed Wolverine. We’re sorry to say goodbye to our bare-knuckled friend – but you’ve both earned the rest.
Ratings note: The film contains graphic violence and strong language.
‘Logan’ (R) Fox (135 min.) Directed by James Mangold. With Hugh Jackman, Patrick Stewart. THREE STARS
Stephen Whitty may be reached at stephenjwhitty@gmail.com. Follow him on Twitter @stephenwhitty. Find him on Facebook.
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