The First Reviews & Reactions For LOGAN Say It's "The Wolverine Film You've Been Waiting For"

Yes, the Wolverine movie without 'Wolverine' in the title is definitely the best one yet: grown-up, ballsy, character-driven and grounded. It feels right that it should be the last one, but it also feels a bit of a shame. Rating: 4 stars out of 5

Brutal, bloody, and beautiful, Logan is the gritty, R-rated Wolverine movie we’ve all been waiting for.

Logan is in many ways an emotional, heavy picture, but it’s also an uplifting one that reminds us that it’s O.K. to fight for something more, something better. It’s an amazing swan song for the Wolverine character, and for Jackman, and perhaps the best X-Men movie yet. Rating: 9.7

It’s Jackman who holds “Logan” together and gives the film its glimmer of soul. He has been playing this role, more or less nonstop, for 18 years, but he seems startlingly not bored by it. Better still, he’s a more refined actor now than when he started, and in “Logan,” he gets to play something rare in comic-book cinema: a powerhouse of animal rage who is slowly, agonizingly slipping away. By the end of the movie, he gets his muttonchops back and reminds you, once more, of what’s great about this character — his hellbent quality, embodied in those flesh-ripping kills that are his way of making good on a mutant destiny he never asked for. No “X-Men” movie will ever be great (the material is too derivative), but Jackman, though he’s the Superman of the bunch, has gone deeper into the alienation than any other mutant in the series. The end of “Logan” is genuinely touching, as Jackman lets you feel the character’s strength and pain, and — finally — his release.

Even as the film’s energy drains in the later going, much like Logan’s healing powers, and long after the fight scenes have lapsed into overkill, Jackman makes his superhero the real deal. The actor, who reportedly conceived the basic thrust of the story, takes the ever-conflicted Logan/Wolverine to full-blooded depths, and the result is a far more cohesive and gripping film than his previous collaboration with Mangold, 2013’s The Wolverine.

This feels like the Wolverine film Hugh Jackman has always wanted to make. Brutal, raw and emotionally satisfying. Logan is up there with the best comic book movies ever made. Rating: 4 stars out of 5

Whether or not the “Wolverine” movies have a future — Jackman swears this is his last go-round — “Logan” is an exceedingly entertaining one. Given that 2016 gave us the rollicking and raunchy “Deadpool” and the bafflingly boring “X-Men: Apocalypse,” it seems like a no-brainer for the mutant movies to get wild and crazy if they want to survive. This outing feels like a step in the right direction.

Logan is essentially a road movie, but it’s a dark one (and a very long one). More than ever, Jackman’s Logan seems like he’s at an existential dead-end, and he’s never exactly been a barrel of laughs to begin with. Mangold shoots the film in a grungy, south-of-the-border Peckinpah palette. There isn’t a lot of hope in the movie. The stakes aren’t grandiose, no one’s saving the world. They’re saving this one special—and very, very violent child (although there will turn out to be others like her). Since Laura’s mutant physical gifts are so identical to Logan’s, there’s a melancholy to their relationship. She’s the daughter he never slowed down enough to allow himself to have. The loner has to learn to put someone else first. It’s both as manipulative and hokey as that sounds, but occasionally it works well enough that you might find yourself getting choked up against your better judgment. Rating: B-

It’s tough to imagine X-MEN fans not being ecstatic for how Mangold, after an uneven THE WOLVERINE, has managed to make the spin-off we’ve hoped for since the announcement of X-MEN ORIGINS: WOLVERINE, which is now, thankfully, a distant memory. It’s not unlike his own 3:10 TO YUMA in how character and action are mixed, and how the Western genre is explored, even if we have cars instead of horses. Even Marco Beltrami’s score plays homage to the genre, although he also incorporates some freaky piano riffs to give it an unusual feel that works well with the film. It’s the superhero movie we’ve been waiting for, in that finally it’s something totally different. Make no mistake, this is even more radical than DEADPOOL and hopefully a film that will pave the way for riskier superhero films moving forward. Rating: 8 out of 10

Logan is a unique film. It’s not a game-changer for the X-Men franchise or the superhero genre as a whole. It could really only be done with Jackman signing off and with Mangold being given the authority to really cut loose and present a clear, uncompromised vision. The result is a movie that does have a few faults (like most X-Men movies, it’s a little too long), but overall Logan provides a fond farewell to Jackman and the character he defined for a generation. Rating: A-

But the heart of the movie is the unexpectedly poignant relationship between Xavier and Logan: I’d be tempted to call them the Steptoe and Son of the mutant world, although in fact Logan goes into Basil Fawlty mode at one stage with his own pickup truck, attempting to trash it – perhaps to teach it a lesson. Logan is a forthright, muscular movie which preserves the X-Men’s strange, exotic idealism. Rating: 4 stars out of 5

Here's a bonus, too: Logan is that rarest of things: a three act comic book movie where the final third doesn’t let the side down (quite the opposite, in fact). For those still struggling with the last act of The Wolverine in particular, that’ll come as a particular relief. Also, The Wolverine committed to its geography and cultural choices for but two thirds of its running time before retreating to a standard CG punch-up. This one is far more confident and successful, and despite a wobble or two, ultimately hasn't wavered or lost its nerve by the time the credits roll. Rating: 4 stars out of 5

The superpower of Logan, however, is that in the end, big stuff happens. Because of the implications it has for Fox's Marvel franchise at large, this is an X-Men movie as much as anything. There's still some time to play with before we get to 2029, but with an endpoint so sharply drawn, it's clear that we're about to hit a regeneration phase.

Logan’s momentum definitely flags towards the end, but there are some nice touches in the finale as well (including a final shot that is absolutely perfect). There have been some R-rated superhero movies over the years, but Logan might be the first that doesn’t simply use an adult rating to drown the viewer in “adult content”; it’s a mature consideration of the ideas underpinning its comic-book motifs. It’s also easily the best Wolverine movie of the three, and an impressive sendoff for Jackman’s version of the character. Don’t be surprised if fans begin quoting the end of Shane too, crying “Come back Hugh!” as he rides off into the sunset. It’s hard to blame them. For 17 years, he was the best there was at what he did. Rating: 7 out of 10

If James Mangold’s spare, violent “Logan” resolves into such a fitting farewell for the character — or at least Hugh Jackman’s inimitably self-possessed portrayal of him — it’s because the film is human, too. Rating: B

There’s so much to like about Logan, especially if you’ve felt Wolverine has been watered-down in previous solo movies. Even so, this is by no means your typical “superhero movie” with flashy costumes and lots of noticeable CG visual FX, which might throw some fans of the “genre” off. Instead, Hugh Jackman’s last Wolverine story ends on a grim, gritty and ultra-violent note that wins points both for being cinematic and for being so different. Rating: B+

In an era where one superhero movie merely exists to serve the next chapter, where there’s never really any doubt about what will happen to anyone on screen because we know they still have contractual obligations, it’s long been obvious that real stakes are the secret ingredient to creating something special in the genre. Unburdened by any obligations to a connected universe, Mangold and Jackman finally create a Wolverine movie that follows its narrative threads right to its organic ends. The X-Men series has always been about pushing forward the message that it’s okay to be different, and to embrace the very things that make you stand apart. It’s taken forever, but the filmmakers are finally taking that advice themselves, and it has resulted in “Logan,” a Wolverine movie that bravely beats with a bloody heart. Rating: B

Logan is the movie that finally satisfies the wish fulfillment of those superhero movie conversations that that speculate on what a hard R-rated superhero movie would look like with a major established character. (If you’ve ever been to Comic Con, these types of conversations happen quite a bit.) Only the people having that conversation kind of know it would never happen because who is going to pay for a superhero movie with a top-of-the-line character and have it rated-R? That’s essentially telling any fan under the age of 17, “Look, kid, if you want to see a superhero movie, you should see The LEGO Batman Movie instead.” (Those kids will probably buy that ticket to LEGO Batman and just walk into Logan anyway, then be treated to a movie in which people get decapitated, have claws pierce their skulls, and have their heads blown off. Yes, this is really rated R!)

What sets Logan apart and makes it so impressively moving in the end is the way it suggests that everyone — from its hero down to characters with only a handful of lines — is fumbling through existence like the rest of us. The ultimate goal by film’s end isn’t to beat the bad guys or even to connect with a long-lost child; it’s to find ultimate meaning in life, to figure out how to define oneself as both a person and a good person. It’s, unexpectedly, resonant, bittersweet, and maybe even profound. Rating: 4.5 out of 5

Logan is, without a doubt, among the greatest comic book movies ever made. It is incredibly faithful to the character, delivering moments hardcore fans have always longed for, but it's also sophisticated and tangible in a way that allows you to connect with it -- and invest in it -- even more. There are no tight leather superhero costumes or big world-ending stakes in play, and instead there's a story about how love conquers all. It's simple, it's sweet and don't be surprised if you find yourself tearing up in between its savage brutality and bitchin' knife brawls.

Logan is Jackman’s Dark Knight as it is less of a superhero movie and more of a character study of a damaged man who has been through the wringer and just wants to find peace with himself and his place in this world. Logan pulsates with gritty mutant action as much as it wraps itself in moving sentiment. It’s the final destination of Logan’s journey and Jackman put a thousand and ten percent into it. It is very evident that it was difficult and painful for him to say goodbye to this character — as it will be for his loyal X-fan following.

I’d hesitate to call Logan the best superhero movie ever, since it represents only a small fraction of what the genre can do, but there’s an argument to be made and I wouldn’t go out of my way to fight it. The film reflects the bellicose and world-weary psychology of the warriors whose battles inspire us, long after their prime, and it forces us to think about just how human our heroes are. It looks like a small production but really, it feels like the biggest X-Men movie. It has more to say than any other installment. It leads to meaningful conclusions. It is brutal and bold and it shouldn’t be missed.

Jackman has never been short on machismo, muscles or charisma in this role, and he brings all those to bear, plus a lot of heart, giving the surly icon a sendoff fans won’t soon forget.

Logan is the top tier X-Men movie we’ve been sorely lacking since the fantastically underrated X-Men: First Class. The characters are in the hands of people who understand and respect them, and between Logan and Legion it’s great to see the X-Men get the high quality content they deserve. Rating 9.5 out of 10

Without giving too much away, I'll say that by the end of Logan, I couldn't believe how much Mangold and Jackman were able to accomplish with this final, fantastic movie. I was floored by the film's impact on the legacy of this timeless character. I was deeply moved by Jackman's soulful, intense and, yes, Oscar-worthy performance, which draws from every appearance as the Wolverine but also puts a period on the end of the sentence that the actor started writing in the first X-Men movie. And I left Logan fully satiated by the totality of Wolverine's on-screen journey. When it comes to Hugh Jackman's unprecedented run as Wolverine, they saved the best for last.

And make no mistake, Logan is a movie you will want to talk about it. Logan is a movie that manages to entertain you and challenge you, that feels a true story regardless of being in the world of X-Men. It’s just as much an arthouse drama, or a prestige picture, as it is a big-budget, action-fantasy movie starring Wolverine. And how many other superhero movies can you say that about?

Unlike most other X-Men films, Logan does not employ any big special effects beyond an explosion or two. It’s a low-to-the-ground, intimate kind of action movie, allowing for many gnarly close-ups of metal going through throats and skulls and other stuff. And unlike most superhero movies of late, Logan doesn’t engineer its plot for franchise road-mapping. There may be a larger mythology forming around the film’s edges, but Logan stays lean and loose—a freedom that allows Mangold to take the characters to startling extremes. The movie earns its grim tone by not shying away from its implications. In clarifying just who Logan is and what he can do—and has done for 17 years, just off screen—he becomes demystified, demythologized. Jackman has said that this is his last time sporting the mutton-chops, and Logan does indeed feel like a goodbye. We’re shown Wolverine in his rawest, truest form—and there is nowhere to go from there. Mangold gives our grumpy old friend quite a send-off, a blood-drenched stab-a-thon that frequently hits bone.

In Logan, James Mangold recognises the power of myth and comics and the importance of hope, but he's keen to eschew any of the gloss, colour, shine and pop of the average comic-book film – whether we like it or not.

But Logan is brave for that. It strives to be genuinely different, and Logan has motivations that go beyond being a simple genre movie into a more profound exploration of grief and loss. When Clint Eastwood made Unforgiven, he filled it with everything he wanted to say about the Western, about violence, and the complexities and damage that violence does to the human soul. I’m not claiming that Logan reaches the lofty heights of that movie, but the ideals of the filmmakers here are just as pure and honest. Logan keeps growing in my mind the more I think about it (during the course of this review I’ve adjusted my number count probably four or five times now). It’s an experience I look forward to having again, and I am thankful that James Mangold, Hugh Jackman, and the producers of this franchise have given us something different and full of rich emotion and spirit. Logan is, truly, first class. Rating: 8.5 out of 10

Remarkably, little Laura (Dafne Keen) plays into this perfectly. Rather than pitching Laura into a cozy archetype like girly-girl, precocious quipster, or tomboy, Mangold lets her linger in something strange and mysterious. Nearly mute, this petite warrior communicates mostly through grunts, howls and dark, penetrating glares. She’s a feral child, whose wildness reflects Logan’s past and occasional breaks from humanity. Newcomer Keen brings a mesmerizing intensity that marvelously matches her storied co-stars’. All this gravitas makes “Logan” enthralling, while the gore of its fight scenes makes its stakes gut-wrenchingly clear.

I laughed. I cried. And I was grateful to have gone on the entire cinematic journey with Hugh Jackman’s character all these years. Logan is an incredible film. It’s my favorite X-Men film. And it might even be my favorite superhero film of all time. Rating: 9.5 out of 10

As irreverent and comically R-Rated as Deadpool was, Logan is equally but effectively morose and grounded, with its own mature take on the X-Men movie franchise and the Wolverine character specifically. The movie thus succeeds as a moving sendoff to the Hugh Jackman-led era of the X-Men cinematic universe, as well as yet another demonstration of how different in tone and style a superhero comic book movie adaptation can actually be. Longtime X-Men fans are in turn advised to prepare themselves emotionally for a somber Wolverine movie – but also one that can be described as a cross between The Wrestler and Dredd, in the best way possible.

Logan isn’t just a final goodbye (again, if this really IS Jackman’s last rodeo), it’s a steely bullet to the head of a reluctant hero we’ve loved for years. All the pain, remorse and despair inside Logan has long boiled over, and Jackman’s performance goes out on raw, sharpened terms. A relentless, jaw-dropping last hurrah like a raised middle claw to the universe. It’s not just one of the best superhero movies ever – it’s a damn-fine cinematic representation of the human condition in all its agonizing forms. Bravo, Mr. Mangold. You’ve just redefined how we’ll look at superhero movies forever. And if this really is goodbye, Mr. Jackman – what a hell of a way to go out on top.

In the near future, a weary Logan cares for an ailing Professor X in a hide out on the Mexican border.

But Logan's attempts to hide from the world and his legacy are up-ended when a young mutant arrives, being pursued by dark forces.