The Wolverine solo films have not been good movies. The 2008 first film was widely lambasted and while it made its money it was obvious artistic misfire. The second film, The Wolverine, directed by James Mangold was an improvement even though it had its silly moments and fell apart with a contrived final confrontation. The Wolverine movies were definitely the lesser unworthy sidekick to the X-Men franchise, and this was a franchise that recently suffered from the near abysmal Apocalypse. Mangold returns for another Wolverine sequel but I was cautious. And then the cheerfully profane Deadpool broke box-office records and gave the Fox execs the latitude needed for a darker, bloodier, and more adult movie that's more interested in character regrets than toy tie-ins. Thank goodness for the success of Deadpool because Logan is the X-Men movie, and in particular the Wolverine movie, I've been waiting for since the mutants burst onto the big screen some seventeen years ago. It is everything you could want in a Wolverine movie. In the year 2029, and mutants have become all but extinct. Logan (Jackman) is keeping a low profile as a limo driver and taking care of an ailing Charles Xavier (Patrick Stewart) south of the border. Xavier is losing his mind and a danger to others with his out-of-control psychic powers that need to be drugged. Caliban (Stephen Merchant) is also helping, a light-sensitive mutant with the ability to innately track people across the globe. Logan is ailing himself as his healing power is dwindling and he can't keep up with the steady poison of his adamantium bones. A scared Mexican nurse tries to convince Logan to help out the little girl in her care, Laura (Dafne Keen, feral and a better non-verbal actor). She's an angry, violent child and built from the DNA of Logan. She too has unbreakably sharp claws and a healing ability. Bounty hunter Pierce (Boyd Holbrook) is trying to recapture the runaway merchandise/science experiment, capturing Caliban and torturing him to track his prey. Logan goes on the run with Xavier and trying to make sense of what to do with Laura, a.k.a. X-23. They're headed north to Eden, a hypothetical refuge for mutants to sneak over into freedom in Canada, and along the way are deadly hunters who aren't afraid of leaving behind a trail of bodies to get their girl back. It feels like it shouldn't haven taken Jackman's reported final outing for the execs to realize that a guy with freaking knives attached to his hands might be a concept that would work in the more grisly, more adult territory an R-rating creatively affords. It's about time this man got to fully use his claws, and it was a joyous explosion of violence and gore that has been built up for fans such as myself for a long time coming. It feels like Fox has been planning for this event as well, as if they stationed a production lackey to devise all sorts of grotesquely fun ways that Wolverine might skewer his competition in bloody beauty ("Finally, your preparation will not be in vain, Ronald"). There's one scene in particular where a bunch of armed henchmen are psychically frozen in place and Logan struggles but moves past each, and we get to anticipate just how each one will be viciously stabbed. For a series that has shied away from overly gory violence, Logan certainly celebrates its new opportunities with bloody glee. The fact that the first word spoken is an f-bomb and there's a gratuitous moment of drunken sorority girl boob flashing is like the producers trying to directly communicate to the millions of ticket buyers and saying, "Hey, we're sorry it took so long. Hope it was worth the wait." Oh dear reader, it was worth the wait. It's not just the action that's invigorating but the emotional core of the film is deeper and more compelling and ruminative than ever before, and finally these great actors are given material to deliver great performances worth of their talent. Stewart and Jackman have never been bad in their respective roles even if and when the movies have been. They just have never been called upon for much more than genre heroics, anguish, and moral dilemmas. With Logan, both actors are finally given meaty material that affords nuance and ambiguity, and they are excellent. Charles Xavier is losing his battle with Alzheimer's and ALS, which is a major concern when his mind is considered a weapon of mass destruction by the government. He's going through his own end of life deliberations ("You're waiting for me to die," he groans at Logan) and it brings out a far different Xavier we've ever seen, even with the youthful cockiness from James McAvoy. This is a cranky, defiant, and doddering Xavier, someone who is barely outpacing his sense of grief, guilt, and depression. There's a tragic back-story we only get a glimpse of but it's suitably devastating for a man who has devoted his life to others. He's looking for a few last moments of grace and looking to hold onto something by journey's end. Thanks to his healing ability and the star wattage of Jackman, there was little fear that anything serious would ever befall Wolverine in his many previous film appearances. Sure bad things happened to him and he lost plenty of female love interests, but you never feared that he wouldn't be able to ultimately handle himself. That's not the case in Logan, which opens with a Wolverine who has clearly lost more than a step or two. He's tried, rundown, and his adamantium skeleton is slowly poisoning his body. His healing powers are slowing down and he's not as berserker fast and agile as he used to be. For once there's an uncertainty attached to the character and vulnerability. This turn greatly increases the intensity of the fight sequences and the greater stakes of the drama. The comparisons of the samurai were rife in The Wolverine and now the comparisons to the aging, lone gunslinger are ever-present in Logan. He's drawn into a conflict that he was not seeking and he's found a little bit of his remaining humanity and compassion to do right in the face of overwhelming odds and near certain self-destruction. There's a subtle moment that the film doesn't even dwell on that stuck with me. It's after an accident, and in the thick of confusion, Logan is trying to save his mentor but he's also worried that Xavier will think he betrayed him. "It wasn't me," he repeats over and over, not wanting this man to suffer more. It's a small moment that doesn't get much attention and yet it really spoke of their relationship and the depth of feeling during these fraught final days. This is the first Wolverine movie that feels like the characters matter as human beings just as much as purveyors of punching and kicking (now with gruesome slashing at no extra cost). Jackman showcases more than his impressive physique this go-round; he delivers a wounded performance that's built upon generations of scars that he's been ignoring. It's the serious character examination we've been waiting for. I also want to single out Merchant (Extras) who gives a performance I never would have anticipated from the awkwardly comedic beanpole. He even gets a badass moment and I never would have thought Stephen Merchant would ever have a badass moment in life. Mangold's film plays as a love letter to Western cinema and uses the genre trappings in ways to further comment on the characters and their plight. This is a bleak movie. It's not a dystopia. In fact it resembles our own world pretty closely with a few technological additions; automated machines and trucks, the common knowledge that mutants have been wiped out like the measles. Knowing that it's reportedly the end for Stewart and Jackman playing these characters, I was anticipating the film to strike an elegiac chord. His past and legacy are catching up with him. He becomes an unlikely guardian to Laura and explores a fatherhood dynamic that was never afforded to him before. The unlikely partnership, and it is a partnership as she's a pint-sized chip off the block of her tempestuous father, blossoms along a cross-country road trip for a paradise that may or may not exist, while desperadoes and powerful black hat villains are out to impose their will upon the weak. This is explored in a leisurely pit stop with a working class family (welcome back, Eriq La Sale) that welcomes Logan and his posse into their home. We get a small respite and learn about greedy landowners trying to pressure them into giving up the family farm. It's completely reminiscent of something you might see in a classic Western of old, just transported to a new setting. There's even an extended bit where Laura watches 1953's Shane on TV, and when those final words come back in expected yet clunky fashion, I'd be lying if they didn't push the right emotions at the right time. But when it comes to action, Logan more than satisfies. The action is cleanly orchestrated by Mangold in fluid takes that allow the audience to readily engage. The film doesn't go overboard on the Grand Guignol and lose sight of the key aspects of great action sequences. There's a refreshing variety of the action and combat, and the action is framed tightly to the characters and their goals. It makes for an exhilarating viewing. If there is anything I would cite as a detriment for an otherwise incredible sendoff, I think the movie peaks too soon action-wise. The emotional climax is definitely where it ought to be (tears will be shed whether you like it or not) but the third act action doesn't have quite the pop. Also, while Holbrook (Narcos) is an entertaining and slyly charismatic heavy, the villains in the movie are kept relatively vague as is their overall plan. The vacuum of villainy is kept more one-dimensional, which is fine as it allows more complexity and character moments to be doled out to our heroes, but it is a noticeable missing element. One of the best attributes I cited from last year's Captain America: Civil War is that the full weight of the character histories was felt, giving real emotional stakes to all the explosions and moralizing. When our characters went toe-to-toe, we felt a dozen films' worth of setup that made the conflict matter. Logan carries that same emotional weight. We've been watching Wolverine and Professor Xavier for almost two decades and across nine films. These characters have gotten old, tired, and they carry their years like taciturn gunslingers looking for solitude and trying to justify the regrets of their lives. It's a surprisingly emotional, serious, and altogether mature final chapter, one that provides just as many enjoyable character moments and stretches of ruminative silence as it does jolts of gritty, dirty, hard-charging action and bloody violence. It's as much a character study as it is a superhero movie or Western. I cannot imagine this story as a watered down, PG-13 neutered version of what I saw on screen. This is a movie for adults and it pays great justice to the characters and the demands of the audience. The final image is note-perfect and can speak volumes about the ultimate legacy of Wolverine and by extension Xavier and his school for gifted youngsters. Logan is the second-best X-Men movie (First Class still rules the roost) and a thoughtful and poignant finish that left me dizzy with happiness, emotionally drained, and extremely satisfied as a longtime fan. Nate's Grade: A-

If there was a standard in films it's the unwritten rule (that was dropped in last years X-Men: Apocalypse) that the third film of a franchise is always the worst. No franchise has ever been able to break away from this tradition. I never thought I would see anything like that and that's why I'm a little bit shell shocked right now at how great a film Logan happens to be. This film is a revelation, an oasis in a desert of the tried and true comic book movie formula. Like last years Deadpool, Logan breaks the conventions and succeeds at several levels. The year is 2029 and Logan (Hugh Jackman) is a chauffeur, saving up his dollars to buy a boat and live out his days on the high seas. Mutants are all but extinct with Logan having a safe house across the border in Mexico with a senile Charles Xavier (Patrick Stewart) and albino tracker Caliban (Stephen Merchant) caring for the professor while Logan is away driving prom dates and bachelorettes around in the wee hours of the morning. When a woman mysteriously tracks Logan down and asks for help in taking a young girl named Laura (Dafnee Keen) to "Eden", a sanctuary for mutants that gets them into Canada and safety. They need Logan's help because they are being pursued by Pierce (Boyd Holbrook) and the corporation that has managed young Laura since her birth. Director James Mangold almost had it with The Wolverine, but that film derailed in its last 20 minutes. With Logan he makes it to the finish line with a film that isn't all about explosions and flashy costumes. The film takes a swipe at the comics that furnished the characters and how ridiculous the stories contained within them. Logan is a character piece expanding between generations and the passing of the torch that occurs in our lives. Both Logan and Xavier are old and beginning to feel the pains associated with aging, like we all do. Jackman is Wolverine and always will be, but he goes beyond the typical Bub and one liners by bringing a raw emotion to the tole that hasn't been there before. The breakdown of everything he once had has worn him down along with time. The rest of the cast holds up to the subject matter that is well written and doesn't play the audience like idiots. As a story the film does take pieces from the graphic novel Old Man Logan, but has managed to break it down into something else, partly out of storytelling (where it succeeds) and partly out of not having access to all of the pertinent characters. This is the movie Marvel wishes it could be. This is the movie DC once was (The Dark Knight). A gritty and realistic take on super heroes without the other worldly components. Logan is a film that borrows more from the western genre than the comic books where the characters were born. Shane is referenced heavily in this film as a man resists going back to what he once was only to be pulled back to it like the tides. Nature will always push you there. Logan and Shane are men cut from the same cloth. Add in the feel of The Searchers and you get a film that feels epic without blowing up a city. You just blow up someones life. If only other comic book films could be more like Logan and less like disaster porn. Where Stephen Spielberg compared comic book films to the westerns of old, Logan has embraced that identity fully. Films like this will keep the genre alive. My son turned 16 a few months back. Thinking back tonight I realized that in all the franchises out there Hugh Jackman as Wolverine is the only consistent throughout his life. The actor and the character have become synonymous with each other and the idea that the next time you see that character on screen played by someone else is a heartbreaking proposition. I can only compare it to Christopher Reeve as Superman for me (By the time I was 20 we had had 3 Batmen) and the attempts to recast that role in the years since have always led me to the finally verdict that "they were OK, but they aren't close to Reeve's Superman". Call it nostalgia or whatever, but that's what we have to face now. Hugh Jackman has (supposedly) stepped down from a wonderful run, though it had some low spots, he played the role with a relish rarely seen in today's franchised film world. Logan is a wonderful (possible) swan song for the man that has given us the original anti-hero in comic book cinema. We will all miss his take on the character and the permanent mark he has made on super hero films. This generation of the genre ultimately started with him and Logan manages to be the best super hero film I've seen in close to a decade.