Logan is on the verge of starting its worldwide rollout, and the first reviews have been hitting the net.
It’s being called Hugh Jackman’s last outing as Wolverine, it’s the first X-Men film with an R rating (US classification), and the trailers have boasted a very different type of superhero pic. So, the question remains: will it be good? Ladies and gentlemen, by the sounds of it, hell yes.
We’ve scoured the internet and read through the early reviews in an attempt to paint you an early picture. Suffice it to say, it sounds like we’re in for a damn good Wolverine film. Solid reviews abound, with critics praising the film’s confident tone, strong performances and surprising emotional depth. If there are qualms, they mostly relate to the familiarity that pops up in the narrative. The influences from other films can apparently be felt easily, but the overall potency drives home a winner.
We’ve tried to grab appropriate excerpts from a range of outlets:
Seamlessly melding Marvel mythology with Western mythology, James Mangold has crafted an affectingly stripped-down stand-alone feature, one that draws its strength from Hugh Jackman’s nuanced turn as a reluctant, all but dissipated hero. That he rises to the occasion when a child is placed in his care is the stuff of a well-worn narrative template, yet it finds a fair level of urgency in this telling.
James Mangold’s Logan, the third and latest stand-alone Wolverine movie, is a strange contradiction: It’s both the most violent film in the series and the most sentimental one. When it’s not showering you in blood, it’s trying to make you spill tears. It’s much more comfortable with the former than the latter.
It’s a journey we’ve been on before, but Mangold makes it an entertaining (if slightly overlong) one. Perhaps it’s just the novelty, but that explicit violence and salty language (Professor X turns out to be quite the potty-mouth as well) adds a bit of much-needed fizz to the “Wolverine” sub-franchise.
Better as an agitated Western than as a fading superhero movie (or a listless cross-country chase), the most cantankerous X-Man’s final outing is a scaled-back affair that nevertheless knows how to swing for the fences. […] Logan strips its namesake down to his metal skeleton, cutting through the layers of precious world-building and plastic CG bullshit that have made too many of his previous big screen adventures feel like emotionally neutered toy commercials.
It’s a wholehearted drama made with a shot language that looks nearly classical. It must be said, however, that the story often feels stitched together from other films, a quality made explicit when the characters watch an extended scene from “Shane” on TV. “Logan” isn’t as darkly exciting as “The Wolverine” was. With its hero suggesting a broken-down cousin to Mad Max, it’s like “The Road Warrior” meets “Shane” meets “Terminator 2: Judgment Day” (yes, there’s a “bad” Wolverine). But that turns out to be a recipe that brings the saga to a satisfying close.
Logan is in many ways an emotional, heavy picture, but it’s also an uplifting one that reminds us that it’s okay to fight for something more, something better. It’s an amazing swan song for the Wolverine character, and for Jackman, and perhaps the best X-Men movie yet.
Operatic and also deeply personal, Logan is one of the true great films of the superhero genre, among the best films of 2017 to date, and a rousing send-off for the old guard while ushering in the future of the X-Men franchise.
Perhaps one of the most negative reviews we found came from Time:
The violence in Logan is grisly and overbearing, just in case you’d otherwise failed to get the memo on its tone of unforgiving gloom. […] But there’s nothing exhilarating or pulpy about Logan. The picture is mostly tedious and unpleasant, which is a shame for the sake of the performers.
So far, so very good. We’ll all be able to decided for ourselves when the highly anticipated film opens in Australia on March 2 and hits the US on March 3.