Mortality. Legacy. Two words which come to mind when thinking of Logan. This is the most raw, passionate take on the character, exposing his vulnerability and his pain as well as making him – and through him the audience – confront his past. Logan is Wolverine but he is also Logan – a man who has lived a long life, and a life full of struggle – here, he is tired, he is weakening, and he wishes to drown his sorrows at the bottom of a bottle. His last link to the world of optimistic heroes is Charles Xavier, by this point (in the year 2026) 90 years old and suffering from seizures that amplify his telepathic powers and have harmful – even lethal – effects on the people around him. Charles retains the essence of who he is – a man who wants to help people. Logan retains the essence of who he is – a man who wants to reject what the world wants of him, is outwardly surly, and bitter, yet deep down, retains a powerful sense of doing the right thing.
Charles is Logan’s conscience, and the two of them are moved to help a young girl called Laura, when she ends up involved in their lives through chance (or is it fate?). Laura is (to paraphrase Charles) very much like Logan, in more ways than one, and though part of Logan wants nothing more than to reject the image of himself and the time that represents, he cannot help but move forward, urged by Charles and by his own sense of honour to help this little girl.
I won’t divulge the main plot details, but both Logan and Charles are old, and facing sickness and death. They have both seen much death and their responsbilities weigh heavily on their minds. This film is about finding the means to move foward, even when they feel their strength is deserting them.
Hugh Jackman gives a powerful performance as a hurting, tired Logan, and Patrick Stewart reminds us all of his prowess as an aged Charles. Films of this nature tend to get overlooked for awards, especially major awards like the Oscars, but surely the performances of Jackman and Stewart are worth considering, for they are strong, brave performances, in a film that shows (like Deadpool before it) that 15-rated comic book movies can and do work.
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