Logan ★★★★

"So that's what it feels like..."

Cut with the pulsating drugs of nihilism and gushing brutality (with a hint of neon aggression in there), James Mangold's "Logan", or perhaps one could say his unofficial audition for a "The Last of Us" adaptation, is the visually and emotionally arresting triumph many legs spread audience members just weren't ready for. His injurious film one that explores the sad, materialist, blood-soaked truth which is our wicked morality, the legacies we establish, and whether their foundations are built on what was right or what was easy.

A character spanning over a 17-year franchise filmography (and for my money has only worked in a few selective roles) Mangold doesn't restrict Logan to the black outlined, paper-thin yellow monolith for heroism in the face of adversity. Don'tchya know comics are all made up, kid? No. Doused in liquor and dazed from merely enduring his own pathetic macho being, claws stuck between his knuckles, hair graying every which way it does, Mangold grounds his film tightly in that moral ambiguity that made Logan such an endearing fan-favourite character of internal toxicity. His Western figure path one where intentions and necessities don't generally meet good ends, leaving a growing trail of dead behind in the service of merely getting by with few being loved. Mangold a sternly beautiful filmmaker when it comes to that balance of narrative and visual bliss. Framing every piece with both tremendous speed and utter clarity that will result in earned tightening of the excited teeth, whilst giving his actors material to gnaw into.

No shaky cam here, folks. All glory. All character.

Hugh Jackman the perfect embodiment of that character and surprisingly the most emotionally diverse of them all. Evoking the kind of role Clive Owen played in "Children of Men": the gruff survivalist caretaker cursed with a journey most unfortunate that's utterly gray in morality and unruly bloody across the adventured map. Newcomer Dafne Keen as Laura and the beloved professor in Patrick Stewart defining foundations as to why Logan works as a powerful unifying picture. Mangold celestial and at the same time ferocious in his approach to family (better than that of any Fast and Furious picture), painting this unit in the dimensional way collective companions of this sort deserve: in a constant state of both love and chaos between one another.

Hearts were opened in this gorgeous cinematic experience more ways than one.


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