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His body is a roadmap of all the mistakes they’ve made with this character in 17 years. This time, Logan comes correct.
People have been waiting a long time for this, but they maybe didn’t know it would be like this. Cryptic way of saying that people love comic book characters, genuinely love them, and want Hollywood to do right by them. Too often, they get it wrong and the fans think they know what they want. But does anyone really know? I doubt many people would envision Logan as the “right” interpretation of the characters. But it is. I doubt many people would have expected, after so many mixed and outright bad X-Men movies, for Logan to be so much better it’s not even funny… but it is.
The thing is, it got here by not giving a shit about the silly trivial details that the nerdiest fans get so hung up on. Logan’s hair, for example. Or why Professor X suddenly has some. These things aren’t really important, but they are the superficial details that the big fans obsess over all in the name of “getting it right”. It’s why some people are going to be bent out of shape that this isn’t an Old Man Logan adaptation (terrible comic anyway). So what makes Logan “right”, then? I think most simply because it focuses on having a good story that these characters can fit in, rather than the other way around. This movie is light on plot, but dripping with subtext and incredibly strong characterization. We’ve been watching Hugh Jackman play Wolverine and Patrick Stewart play Charles Xavier for almost twenty years and they were always a big part of the reason why people kept coming back in spite of the stupid shit the X-Men movies have gotten up to in that time. That’s an era of performances in movies that didn’t deserve them. So now, for their final go around, James Mangold made a movie that does deserve them.
At the same time, it’s important to realize that this isn’t sudden proof that sadness and violence is what makes a “good” comic book movie. It helps make Logan good, because those elements interact with some mature themes and storytelling. Without that, with only the grim and the violent, you get DCEU movies. Logan is strong alchemy, and I don’t think it can be replicated any more than Deadpool can. There’s contextual stuff happening here and it’s a big part of why this movie is blowing everybody away. But if you skipped to the finish line, we’d have this good movie maybe but we wouldn’t have a movie that makes people grip their chairs or feel like they’ve lost a friend by the end. Context is everything.
SPOILERS, BUB. Read the rest of this entry »
Believe it or not, this bit works a lot better in context than it did in the trailers.
The Wolverine isn’t just the best X-Men movie (First Class has not aged well), it is also nuanced and focused in a way that most comic book superhero movies just aren’t. This makes it feel more like a “real movie” than Origins or even First Class ever did. This is because pandering is kept lower key, characters don’t get thrown in for no reason or just to be cute, and most everything is foreshadowed, setup, justified, and paid off. There is way less “and then” storytelling going on in The Wolverine than has become typical for superhero movies, let alone Hollywood’s foundering big budget output.
Though the third act is clunky and full of bad contrivances that threaten to derail the movie, it’s also the only part where The Wolverine fully indulges its comic book origin. This is going to work for some and be a dealbreaker for others. For me it was a mild mess. I’ll go into more detail later, but for now be satisfied that it’s the third act problems that keep The Wolverine from being legitimately great. It seems like we have to wait a bit longer for a superhero solo outing to be truly awe-inspiring (Man of Steel comes so close), but in the broader context of these types of movies it is hard to be cynical about the satisfaction level that The Wolverine reaches rather handily. Read the rest of this entry »