‘One of the things that prevents superhero stories from ever attaining the status of true modern myths or legends is that they are open ended… You cannot apply [the concept of resolution] to most comic book characters because, in order to meet the commercial demands of a continuing series, they can never have a resolution. Indeed, they find it difficult to embrace any of the changes in life that the passage of time brings about for these very same reasons, making them finally less than fully human as well as falling far short of true myth… Whether [the story of a hero’s end] will actually ever happen in terms of ‘real’ continuity is irrelevant: by providing a fitting and affective capstone to the… legend it makes it just that… a legend rather than an endlessly meandering continuity.’
– Alan Moore, in his proposal for the unmade Twilight of the Superheroes
It’s a little hard to believe that sixteen years have gone by since the first X-Men film made its debut: that’s a fair chunk of time by anyone’s standards, I suspect, and it’s not as if the owners of the property haven’t been busy – six main-sequence films of somewhat variable tone and quality, two spin-offs focusing on the series’ breakout star, Wolverine, inimitably portrayed by Hugh Jackman, and the rather idiosyncratic (and very successful) Deadpool, a kind of comedic deconstruction of the series. But, it seems, even multi-billion dollar franchises must come to an end (or at least a pause prior to a reboot), and so it is with the X-Men.
Which brings us to Logan, directed by James Mangold, which could be seen as bringing down the curtain on the current series of films with a distinct sense of finality. The film is set in a dystopian America in the late 2020s, where Logan is eking out a rather grim existence, his two hundred years finally catching up with him and his powers (literally) failing. The subspecies homo superior has almost vanished from the Earth – there are, to coin a phrase, no more mutants – the X-Men have gone, and Logan is trying to care for his old mentor Xavier (Patrick Stewart), who is frail and partly senile (and, as you can imagine, when the world’s most powerful telepath is suffering from dementia, it opens up a whole new can of worms). Logan’s objective is to keep a low profile, disappear.
Of course, it’s not that easy, for his path crosses that of a young girl (Dafne Keen), on the run from shadowy military-industrial forces led by Pierce (Boyd Holbrook). It transpires that she is a refugee from a project to clone mutant soldiers, and what’s more, the source of her DNA is Logan himself, making her effectively his clone-daughter. She is heading for a rumoured haven for the few surviving mutants, somewhere in Canada, but she needs a protector…
It’s relatively easy to make a good trailer for any movie, but I think it’s safe to say that expectations for Logan were raised soaringly high by the first trailer for the movie – also known as the one with the Johnny Cash song. The mournful, elegiac tone of the trailer promised a very different, much more introspective kind of superhero movie, and the obvious question is whether Logan lives up to that promise.
Well, there is a Johnny Cash song on the soundtrack, but it’s a different one, and while this is a much more textured and thoughtful movie than the other ones in the series, the thing that immediately makes it distinctive is that it’s a 15-rated movie (R-rated in other countries), presumably because the success of Deadpool (also a 15) has made the producers relax a bit about the prospect of this kind of film. I mentioned this to my sister, with whom I’ve been watching these movies since they started, and she turned rather pale at the prospect – she was quite right, as the fight sequences that punctuate this movie are stuffed with all the graphic stabbings, dismemberments, and beheadings you would expect from an action film about several characters equipped with various razor-sharp claws. This is a ferociously violent film and I’m a little surprised it managed to scrape a 15, to be honest (there are a fair few F-bombings as well).
That said there is some poignancy as well, most of it courtesy of a touching, vanity-free performance from Patrick Stewart as the ailing Professor X. Stewart manages to find the emotion in the story in a way his co-stars mostly don’t, and I’m tempted to say that this just illustrates the difference between a charismatic song-and-dance man and a RSC stalwart. (Also giving a somewhat revelatory performance is Stephen Merchant, playing fifth-string X-Men character Caliban – Merchant finally gets to put his self-styled ‘goggle-eyed freak’ persona to good dramatic use.)
On the whole, however, the story rambles about (this feels like a very long film) without ever quite making the mythic and emotional connections you might hope for. Mangold is clearly interested in the film as a piece of classic Americana – there’s a road-trip through the wide-open spaces, for instance – but his attempts to make it resonate with classic Western themes mostly just result in odd scenes where the character take a break from the story to sit around and watch clips from Shane. The movie itself is too invested in its own violence for Logan’s self-condemnation as an irredeemably bad man to have any dramatic weight.
Still, at least the ending isn’t just another special-effects-powered clash in a soundstage laboratory or industrial site, and the choice of the final opponent for Logan to take on is an interesting one which they perhaps don’t explore quite enough. Having said that, the climax of the film is so focused on action and the resolution of various bits of plot that it doesn’t really have the emotional impact the script is obviously aiming for – what there is mainly comes from the fact that we’ve followed these characters and actors for so many years and so many films. The fact that it’s actually not very difficult to guess how the film is going to end may not help much, either. Hard to say more without spoilers, of course, whether those spoilers are easily-guessable or not. (By the way: save yourself five minutes and leave at the start of the credits, there’s nothing to wait for.)
Is Logan the movie its initial publicity suggested it might be? Well, no, of course not, but then it’s a rare movie which is as good as its own publicity suggests. Nevertheless, this should not distract from the fact that this is an interestingly bleak and down-to-earth superhero action film, with the usual charismatic performance (or should that be performances…?) from Hugh Jackman, a decently-crafted plot, and some well put-together action scenes. If this is the final film in the current X-Men franchise, then it’s one of the better ones, although there are also glimmers here of a much more interesting film that never quite makes an appearance. As it is, this is certainly a film for adults, but that’s solely because of gory content rather than its theme.