{"id":816,"date":"2016-07-11T23:16:30","date_gmt":"2016-07-11T23:16:30","guid":{"rendered":"http:\/\/13.201.39.237\/?p=816"},"modified":"2016-07-11T23:16:30","modified_gmt":"2016-07-11T23:16:30","slug":"logan-movie-review-wolverine-hugh-jackman-x-men","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=816","title":{"rendered":"Logan: The Darkest Knight Rises"},"content":{"rendered":"\n

T<\/span>owards the end of James Mangold\u2019s <\/p>Logan<\/em>, there\u2019s a moment when old, bearded, bruised, and broken Wolverine has to decide whether he cares about Laura, a young pre-teen mutant, created in a lab with his own genetics. \u201cBad shit happens to people who I care about,\u201d he says. \u201cThen I\u2019ll be fine,\u201d Laura shoots back, before walking away.\n\nThe scene, in a nutshell, is indicative of Hugh Jackman\u2019s 17-year run as Wolverine\/Logan. Unlike other modern superheroes, saving the world doesn’t quite pique his interest.\u00a0Logan’s motivations have always been personal, ranging from the one that got away i.e. Jean and his paternal instinct toward keeping the dangerous Rogue safe in the first X-Men<\/em> trilogy, to his girlfriend in the standalone films, to Charles in Days of Future Past<\/em>. The moment most symptomatic of this character quirk, which is also my favourite Jackman scene<\/a> from the nine movies, is his modest \u201cGo fuck yourself\u201d to a request for help from a wide-eyed Professor X and Magneto in X-Men: First Class<\/em>.\n\nWolverine\u2019s reluctance to get involved, his ambivalence to a cause, is at the centre of Logan<\/em>, which desperately needs him to get involved. The year is 2028 and geneticist Dr Rice, son of one of the doctors on the original Wolverine Project, has nearly eliminated all mutants from the face of the earth. He doesn\u2019t hate mutation though, as he\u2019s aiming to \u201ccontrol\u201d it rather than end it. For this, he creates exacerbated mutations in little children, who somehow escape his facility without ever having lived in the outside world.\n\nOne of the kids is Laura, played by the astonishing newcomer Dafne Keen<\/a>, who has Wolverine\u2019s adamantium in her bones and an aching innocence in her heart-breaking gaze. Somehow, she finds her way to a battered, alcoholic Logan and a near-death Professor X. The film then becomes part road movie, part Western, with open skies and endless miles that lead toward a literal Eden<\/a>, which Logan doesn\u2019t believe in, but which Laura swears by \u2013 she had read about it in an old X-Men<\/em> comic in Dr Rice\u2019s lab.\n

Logan doesn\u2019t value its heroism by falling aliens and cheering crowds, but by the age-old notion that ploughing through and going the extra mile, is what makes heroes out of ordinary men.<\/blockquote>\nDuring the near 150-minute runtime of Logan<\/em>, Mangold takes emotions accumulated by Wolverine over the past 17 years to their logical extreme. Wolverine isn\u2019t just\u00a0saying<\/em>\u00a0that he doesn\u2019t want to be a hero, \u00e0 la Superman, he actually tries to take his claws out. If the heavy drinking won\u2019t kill him, he carries an adamantium bullet as a fail-safe. His saltiness, desire to be alone, and anger are on the surface for all to see, no longer hidden beneath a veneer of dry humour. After all this time, old person Logan finally becomes Old Man Logan. This transformation from a charismatic supersolider, perhaps the greatest in history, to an old war veteran now working as a chauffeur is painful and jarring, just like the violence he inflicts.\n\nWhile other superhero movies show life and death in CGI and throw in clever lines before the \u201ceyes close\u201d, Mangold chooses instead to show what actually happens to the human body when it interacts with Logan\u2019s claws. It\u2019s brutal, it\u2019s visceral, and a virulent red. The hurriedness has no time for a violin or to hoist a flag. Violence is only one of the reasons the film has an adult rating. The other is the struggle with moral nihilism, where Logan has to remind Laura time and again of the value of the righteous kill. Marvel or DC films haven\u2019t breached this space, in addition to the grand questions Logan<\/em> tries to combat: Why are superheroes important? What does it even mean to be a superhero?\n\nMost superflicks will tell you that the world has been ending for 50 years, only to be saved time and time again by our superfriends. It\u2019s a trope tried and tested, which is why Christopher Nolan\u2019s Batman<\/em> broke through so smoothly with its grit and inner conflict. Marvel came close with Captain America: Civil War<\/em>, but its need to stay peachy and on-brand \u2013 where every film is a grand trailer to the next four \u2013 devalued it, if not most of the conflict between Tony Stark and Steve Rogers<\/a>.\u00a0However hard they try, there are conventions no movie of this kind can escape. The climax must be a grander fight between good and evil, order and chaos, where righteousness is made implicit throughout, mostly via dialogue and not exploration. The end point must be clever and have enough juice to pilot a sequel. Logan<\/em> uses its advantage of being the last film in a series to get away from these tropes, which The Dark Knight<\/em> or even The Dark Knight Rises<\/em> didn\u2019t escape. \u201cWhat kind of a hero do we need,\u201d asks pretty much every character in the Nolanverse, whereas in Logan<\/em>, Wolverine is just trying to get a good night\u2019s sleep.\n\nMangold\u2019s Logan<\/em> is traditionalist. It doesn\u2019t value its heroism by falling aliens and cheering crowds, but by the age-old notion that ploughing through and going the extra mile, is what makes heroes out of ordinary men. It\u2019s only fitting then, that through the animated TV shows we saw growing up and the innumerable films made in the last 20 years, the last surviving member of the X-Men (Professor X killed all of them, he confesses in Logan)<\/em> had to be the greatest survivor of them all. The one who never wanted the fight.\n\nIn Logan<\/em>, the lone wolf, freed of all alliances and burdens finally has a chance to be The Lone Wolf. The film wrestles with this until the very end, until a cross has been shifted to seem like an \u201cX\u201d, until Wolverine is provided with an opportunity to go out the only way he was always meant to but had to decide for himself \u2013 with his claws out.\n","protected":false},"excerpt":{"rendered":"

Logan uses its advantage of being the last film in a series to get away from superhero tropes. It tries to combat the grand question: Why are superheroes important?<\/p>\n","protected":false},"author":82,"featured_media":817,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[82],"tags":[62,1446,1447,1448,1449,1450,1451,1452,1453,1454,1455],"class_list":["post-816","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-culture","tag-arre","tag-comic","tag-dark-knight","tag-dc","tag-hugh-jackman","tag-logan","tag-marvel","tag-nolan","tag-superhero","tag-trilogy","tag-x-men"],"yoast_head":"\nLogan: The Darkest Knight Rises<\/title>\n<meta name=\"description\" content=\"Logan uses its advantage of being the last film in a series to get away from superhero tropes. 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