What is “Logan” trying to tell us?
The end credits roll to “The Man Comes Around”, Johnny Cash’s upbeat take on the Apocalypse and the Second Coming of Christ, though I don’t think you could call “Logan” a religious movie in any conventional sense.
Certainly the question of redemption runs through it like a thick seam, but it has this in common with countless other Hollywood movies, redemption being one of Hollywood’s favourite themes.
But there is no hope for an Afterlife here, no promise of a better world (though there is the possibility of it).
Some critics have warmed to the “darker”, more “serious” tone of this, the latest in a long run of X-Men films now stretching back nearly twenty years, and there’s no doubt that the central cast are getting on – Hugh Jackman, as the title character, is nearing fifty, and though playing the Wolverine has probably paid his mortgage several times over, he’s no doubt tired of having to spend all day in the gym to get into shape for it.
Patrick Stewart, of course, is now in his late seventies, though here he plays a Professor Xavier in his nineties (the film is set in 2029).
After a catastrophe which is only obliquely referred to, but in which we are led to believe people have died because of Charles Xavier’s inability to any longer control his great mental powers – a result of his encroaching dementia – both he and Logan are hiding out in an abandoned factory in Mexico, with the latter taking work as a limo driver across the border to raise money for Charles’s medication. The other mutants, we are told, have all gone – though the explanation for this, when it eventually comes, feels unsatisfying and incomplete, one of several frustrations I had with the script – and only Caliban (a revelatory and nicely understated performance from Stephen Merchant, who I’ve only seen in comedies before now) is left to help look after Charles in Logan’s absence.
Logan himself is grizzled and ailing, his ability to magically heal having stalled somewhat (again for reasons that are never fully explored, though apparently something to do with the adamantium that coats his skeleton slowly poisoning him), and his never-cheery persona is soured even further by the appearance of Laura (Dafne Keen, superb), a young girl who turns out to be his (cloned) daughter, and who has escaped from the lab of evil corporation (is there any other kind?) Transigen, who have been experimenting on children to create a new species of mutant. She, Logan and Xavier go on the run, trying to find a mythical “Eden” somewhere on the Canadian border, whilst poor old Caliban is captured by the bad guys, who force him to use his tracking powers to find his friends.
So the set-up is in place for a road movie which promises – and delivers – plenty of gory action, and quite a bit of ripe language (it’s been given a 15 certificate here in the UK, unusual for a superhero film), but left me feeling pretty short-changed nonetheless.
Well perhaps it’s the undercooked plot, with what exposition there is, as I’ve already stated, feeling ill-thought-out and flimsy, and supporting characters who are never given much room to develop – Richard E. Grant, as villainous Zander Rice, does what he can with an underwritten, cardboard cut-out role, but neither he nor sidekick Donald Pierce (Boyd Holbrook) are the antagonists Xavier and Logan really deserve, and I missed the chilling authority of Ian McKellen as Magneto. And we have hardly been introduced to the kindly family who give our heroes some (brief) respite from their troubled existence before they’re unceremoniously despatched by the X-24 (also played by Jackman), the latest of Rice’s clones.
I enjoyed the carefully chosen suggestions of a nightmarish near-future – driverless trucks hurtle down the freeway, and at one point Pierce mentions in passing that the tiger is now extinct. The metatextual references to X-Men comics – which Logan grumpily dismisses – are a nice nod for the fans, and the scene in a hotel when Charles has a seizure and Logan deals out retribution to his attackers – in violent slow mo – was genuinely exciting, the best action sequence of the film. But I’m afraid this wasn’t enough for me – the movie as a whole felt like standard formulaic superhero fare, its aspirations to grimy authenticity like those of a forger who has just dipped a supposed ancient manuscript in tea to make it look old. Logan may be greying and addicted to booze and painkillers, but he’s still ludicrously buff – no middle-aged flab here. And likewise Professor Xavier’s Alzheimer’s only manifests itself right at the beginning, when we see him spinning round in his wheelchair and babbling nonsense – after that, he comes across as an admittedly frail, but otherwise perfectly compos, old man. There was no real sense of the humiliation and desolation of dementia, the way it takes everything from you. Jackman and Stewart are both hugely talented actors, but I didn’t feel either of them were really stretched here.
What is “Logan” trying to tell us?
I’m not really sure.
All the older mutants in the film die warriors’ deaths – in battle. No fading away in a care home for them – an ending which, I can’t help feeling, would have been much more radical. Just before the end credits, and that Johnny Cash song about Christ, Laura turns the cross on Logan’s grave on to its side so it becomes an X. She obviously knows the score. Christ may or may not return, but the X-Men certainly will, at a multiplex near you, and soon.