Logan ★★★★½

James Mangold’s ‘Logan’ tackles the human side of Wolverine. Refusing to portray comic book film conventions, Mangold takes this swearing, drinking, asshole, and turns him into a swearing, drinking, asshole of a hero. Deafening and subtle may be a slight case of an oxymoron, but Mangold delivers just that with this picture. From the black and white opening credits to the impactful closing titles, ‘Logan’ is not focused on being the better superhero film; its attention is on being the better film. Hugh Jackman returns for the final time as the titular character, and delivers what, could be, an Oscar calibre performance. The young Dafne Keen – Laura/X-23 – makes a tremendous mark on the screen in her film debut. Keen’s fierceness and bravery excel her quiet, and composed character. What ‘Logan’ understands – more than many superhero movies – is that you need to work to earn the fight. Mangold’s picture is not interested in cranking a battle out every 25/30 minutes. His ideas lay elsewhere. Not since Christopher Nolan’s ‘The Dark Knight’ has a ‘genre’ film been so focused on delivering an in-depth character study. The movie marks the end of an era; the final time Jackman will go berserk on screen with his iconic chops. But when the credits roll, and you see that final image, you will somehow be relieved. Jackman, like Logan, has earned the right to rest.

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