James Mangold is a compelling director; in that a lot of his work has real emotional depth and nuance, and often benefits from repeat viewing. And he’s kind of underappreciated. I mean, Girl, Interrupted, 3:10 To Yuma and Walk The Line all had him at the helm.
And yes, granted, he’s also got The Wolverine on his filmography, but we’re all allowed a little stumble now and then, right?
And I have to say, with Logan – almost certainly Hugh Jackman and Patrick Stewart’s last portrayal of the characters – Mangold has finished with superheroes on a high (assuming he’s not coming back to direct again). Because, simply put, this film is poles apart from almost ALL superhero movies (even Deadpool), in that it’s a melancholy love letter to Logan, aka Wolverine (Hugh Jackman) and Charles Xavier, aka Professor X (Patrick Stewart), as the two that are heart and soul – and indeed spine – of the X-Men franchise.
Theirs is the father-son dynamic that’s touched on consistently throughout prior films, but is really brought front and centre here. And, structure wise, we’re in somewhat different territory. Because whilst superhero films (these days) are often Westerns half in disguise, Logan wears this badge proudly, with Mangold really playing to his strengths as a director.
In that it’s a muscular, visceral, downtrodden and wistful story. One that’s gritty, painfully real, and lacks any semblance of a Hollywood shine. (I mean, within one scene more F bombs get dropped than the rest of the franchise put together.)
Indeed, Mangold has previously stated his touchpoints were Shane, The Cowboys, Paper Moon, Little Miss Sunshine and The Wrestler. And, for me, the latter two cited really shine through. Whether it’s the road trip structure or the fact Logan shares a lot of common ground with Mickey Rourke’s wrestler, in that he’s a ‘broken down old piece of meat’, you sense these influences keenly.
And, story wise, it also takes its cues from the Old Man Logan series of graphic novels. So within the opening scenes where we meet Logan, he’s a grey-haired, shabby limo driver. He drinks, he’s bleary-eyed, bent, broken and walks with a limp. So he’s oceans away from his body being the temple of earlier films. Now it’s more a urinal. In short, he’s a right mess and borderline suicidal.
Plus the fact he’s got a half-senile Charles to look after; shacked up in a metal bunker in Mexico (described in one scene as a man with the world’s most dangerous brain and a degenerative brain disorder to match. A lethal combination). So gone are the days of the mansion and gone are the days of mutants and the X-Men. Logan and Charles are practically all that’s left. And they’re barely clinging to life as it is.
But… they’re given purpose by the arrival of a young girl, Laura (Dafne Keen), who has certain familiar abilities. And so Logan is tasked – with Charles in tow – to attempt to evade bad guys and get her to the safety of Canada. So we end up with a sort of mismatched family road movie – with Logan as the cantankerous yet caring father, Charles as the doddering yet insightful grandfather, and Laura as the wild, precocious daughter looking for a family and sense of belonging.
And, whilst the whole film has many sweet notes, it’s also immensely sad and surprisingly violent (every Wolverine kill is far bloodier and more gory than ever before).
This is also, without a shadow of a doubt, both Jackman and Stewart’s best performances as these characters. The studio has clearly given Mangold license to do things a bit differently, and it’s really paid off.
The world feels more real. It’s the most emotional ‘superhero’ film yet (in any franchise) and it’s focused in its use of a handful of characters tops, which is really refreshing (the swollen cast of recent X-Men outings was beginning to bore me a bit).
So ultimately, this is a strong contender for the best X-Men movie to date, or at least a firm second place. And you could argue that without all the prior films the weight of emotion wouldn’t ring true here, and that this movie needs to stand fully alone to be considered the best. And that’s valid.
But it’s also worth noting that this movie does FAR more right than it does wrong. Coupled with the fact that more than a handful of scenes are truly heartbreaking.
Now how many X-Men films could you say that about?