I was going to title this “Holy Fucking Shit! I Just Saw ‘Logan’!” or words to that effect.
But I went a different way.
“Elegaic” is not a word I ever thought I’d be using to describe a movie set in the 20th Century Fox take on the X-Men Universe. I remember sitting in a theater seventeen years ago thinking, “Wow, that’s a better X-Men movie than I ever thought I’d get to see in my lifetime. And that Hugh Jackman guy’s a pretty okay Wolverine. He’s not the ‘Jack Nicholson circa The Shining version of Logan I dreamed of when I read these funny books in the early ’80s, but he’ll do.” I figured he’d do his three movies and be done, y’know?
A lot has happened in the intervening years since the X-Men ushered in the modern era of superhero filmmaking, for better and for worse, in my life and theirs. Rollercoaster highs and lows, creative swings for the fences and indifferent franchise regurgitations, big money hits and narrative misses. While Disney/Marvel became the fire-breathing synergy dragon, completely upending the idea of what a megafranchise could be, Fox’s X-movies stumbled in and out of the shadows, scrambling not just to keep their licensing rights but to put a creative foot down and do a little territorial pissing of their own. And while Chris Nolan was bringing dour seriousness to Batman to a degree that made it seem like he was slightly embarrassed to be associating with a comic book world, James Mangold was trying to make contemporary Westerns (Copland, 3:10 to Yuma) that felt important, even if they weren’t. But I’ll be damned if he and Jackman haven’t beaten everyone at their own game and made, if not the greatest superhero comic book movie of all time, just a goddamn great movie that happens to be about superpowered people (but is really about aging, mortality and the importance of love and family in giving meaning to a chaotic life). Seriously, Logan makes The Dark Knight look like a Porky’s sequel.
This is Mangold’s Unforgiven meets Children of Men with some No Country for Old Men and Mad Max: Fury Road for good measure, and not just because those films could be counted as influences, but because I left the theater with the same feeling those movies gave me-I just watched a masterpiece. A perfectly controlled piece of smart, propulsive, thoughtful, philosophical, near-perfect storytelling. A movie that was “about something,” while in no way shying away from being a terrific piece of comic book-inspired pop entertainment. A movie drenched in ’70s crime noir and post-modern Western mythology, but also populated with cyborg bounty hunters and borderline feral adorable badass murder children.
It’s like Alexander Graham Bell never existed in whatever perfect dimension this movie got made in, so no one could phone anything in. The script, first and foremost, is just fantastic. Every line actually means something. It’s all there for a reason. This is capital F for Fuck Yeah Filmmaking where it all matters to everyone involved and they’re taking it seriously because they love it and themselves and you.
The dialogue is great, and not only that, it never feels like it’s just there because that’s what a scriptwriting formula says you have to put in between the big action set pieces. In fact, sometimes it feels like the big action set pieces are just kinda there to sew together all the important scenes of people talking, revealing, misunderstanding and bonding, while they contemplate their histories and sort out their existential dread. And in case you miss my meaning, those action set pieces are INCREDIBLE, and as crucial to the story as anything else that happens.
And the acting is soooo good. Patrick Stewart should be up for some of those awards-type things (he won’t, because we all live in the Darkest Timeline). The young actress who plays X23, Dafne Keen, is a fuckin’ revelation. If George Lucas had looked this hard for his Anakin we’d still be kissing his ass to make more Star Wars movies. Hell, if Abrams had shown this much love for any of the franchises he inherited and got to play with, we’d want him to own all the sandboxes.
Stephen Merchant kills it so hard as Caliban (a character I never even read a book or story about) that I retroactively wish he’d always been around in the X-movies because I love Caliban so much now. Boyd Holbrook (from Netflix so-so Narcos series) is so great as the bad guy he made me forget Tom Hiddleston’s name for a second. As is Richard E. Grant (from Withnail and I!) as another bad guy who brings so much to a two dimensional character you almost forget you’re supposed to hate him.
And as for Jackman, well, the only other character/actor I can think of that’s been through this kind of narrative ringer–starting strong, getting dragged through some creative mud and raked over some narrative coals–only to finish up on a high note is maybe Stallone as Rocky Balboa in Creed. But he wasn’t even the main protagonist of that movie! Other than that, there’s no one, not Connery or anyone else as James Bond, not even Harrison Ford as Han Solo, who’s been able to take a franchise character to a place like this and against all possible odds leave on a note so high it’s almost painful in its perfection. And over the course of two decades he had to do a lot of just, y’know, showing up and being Wolverine when they asked him to to get to be able to really do one that did and said everything he could with the character.
It’s hard to even wrap my head around the idea that Mangold and Jackman took their inspiration from that piece of shit Mark Millar graphic novel Old Man Logan. This is the realization of the promise that title teased me with, and where Millar shamelessly aped the moves of Eastwood Westerns and layered it with post-apocalypse grotesquerie, these guys throw every genre in the blender and take it for a heady spin.
I could just be swimming in the pink cloud of post-orgasmic movie-joy afterglow, but not only were there little to none of the “third act problems” that plague even some of my favorite movies in this genre (I’ve watched Winter Soldier at least ten times and I’m still not sure why making everything go ‘splodey-‘splodey over downtown D.C. is the best solution there), I’m not sure this movie had problems at all.
It comes on strong, gives itself room to breathe in the middle, and totally sticks the landing, while retroactively making 17 years of ups and downs in X-moviemaking all seem more significant just by association. It’s almost absurd that it exists, and for an aging nerd like myself, it’s super-gratifying that it does.
See the living fuck out of it.