We all know that the concept of the “gritty reboot” is a little played out. (As soon as the internet starts meme-ing something, it’s never a good sign.) However, if ever there was a cinematic character who warranted some rougher and tougher reconsideration, it’s probably Wolverine. Enter: Logan.
Of course, Logan isn’t actually a reboot, considering Hugh Jackman has now been donning his Wolverine scowl for well over a decade and Logan marks director James Mangold’s second time tackling the character. But while some audience members may be growing fatigued by the Wolverine tale and have lost count of how many different X-Men-related films we’ve now seen him in, it’s also difficult to claim that Logan doesn’t feel like something quite different within the franchise. And when you’re bringing Wolverine-level familiarity to the already well-worn superhero genre, the fact that Logan can actually be described as “fresh” feels like a small miracle in and of itself.
Part of this does have to do with the film’s much-discussed R-rating, which Mangold and co. take full advantage of when it comes to the violence. However, while it’s fun to hear Wolverine drop a few well-placed f-bombs and the brutal fight scenes are stunningly directed, I’d argue that the film doesn’t really need its R. The film is otherwise rather understated and actually features a lot of downtime, so in one sense I can understand why Mangold wanted to throw in a few spirited beheadings to keep restless audience members alert, but the result is that it ends up feeling a bit inconsistent in tone.
Rather, the thing that truly sets Logan apart is its focus on character. Logan and Charles Xavier (Patrick Stewart) get fully-formed arcs, and Mangold and his fellow screenwriters leave room to show the toll that time has taken on their characters. It’s a melancholy, often pessimistic meditation on morality, tackling themes of regret and vulnerability. Most superhero movies don’t even try to wade into anything with a bit of emotional heft, or when they do, it just feels woefully cursory. (Here’s looking at you, Captain America: Civil War.) By contrast, Logan revels both in its meditative tendencies, and the considerable emotional range of its pair of lead actors, who have never been better within the X-Men franchise.
However, even Jackman and Stewart can’t completely smooth over the film’s flaws, which aren’t massive but do prevent the film from truly transcending superhero tropes. To start with, Mangold can’t seem to resist throwing in a hammy, undeveloped villain who this time around comes in the form of Boyd Holbrook’s Pierce. (If you want to see Holbrook do some truly fantastic work in a gritty, small-town America cinematic setting, check out 2015’s underrated indie Little Accidents. But he’s sadly all scenery chewing and “quirk” here, ultimately amounting to a character of no substance.) And while there’s something to be said for a deliberate pace, this movie does feel overly long at 135 minutes; by the time we reach the end it feels fairly inevitable (though still affecting), and I think the film would be all the stronger if we could have gotten there 20 minutes sooner.
Ultimately, it’s difficult not to get sucked in by the surprising pathos of Logan in spite of its flaws, and while it may not be entirely revolutionary, it is a refreshing detour. Hopefully it’s a sign of the direction more franchises will start to take.