Like some of the other top-quality comic films, including the Dark Knight and Spider-Man 2, Logan: The Wolverine allows not follow to his original source. The latest film about Rosomaha is most strongly influenced by Mark Miller's "Old Man Logan", an author famous for his innovative ideas: for the registration of the "Civil War", for a realistic view of the experience of an ordinary teenager Kick-Ass and many others. His "Old Man Logan" is a cross from Mad Max, Clint Eastwood's westerns, and one of Kevin Firigi's key inspiration for building a unified cinematic for Marvel's heroes (MCU). The comic book is a post-apocalyptic epic, in which the villains eventually defeated, and the USA is shared by Magneto, Kingpin, Doctor Doom, and the president of the United States is the Red Skull. Most of the superheroes are dead, the others are hiding, and Logan has refused to be a superhero - caring for his family, no money to pay for the rent (to Bruce Banner's grandchildren), and hence renting a cargo with the blind shooter and former avenger Clint Barton (Hawk Eye). Logan has denied violence, because the villainous Mysterio years ago involved him into the illusion that he rescues Professor Xavier's talented mansion from being attacked while the Werewolf kills all X-Men. The beast in him awakens as he faces the new US president in his trophy hall, which includes the defeated Iron Man's bumper, Dr. Strange's cloak, Spider-Man's mask, where the Red Skull is most victoriously dressed in Captain's Costume America. The Old Man Logan comic includes countless characters in their history, but not at the expense of the narrative, as has often happened in comic books, and in particular those in FOX.
Logan" is Hugh Jackman's latest film in the role of James Logan Haullet. Jackman has been Wolverine for 17 years (2000, X-Men), has not been replaced and has played the character in nine films so far. Jackman attempted to leave X-Men's universe with James Mangold's previous film The Wolverine (2013), but although the film was an improvement over the catastrophic "X-Men Beginning: Wolverine" (2009), it was not at a high enough level to allow the actor to retire. After the success of Deadpol - nearly 800 million in the world box office, two Golden Globe nominations and a warm welcome from critics and fans, the number of R-rated comic films was expected to increase. "Logan: The Wolverine" inherits its rating from "Deadpool," but uses it much more expediently. Not just violence is sometimes cruel, but the "maturity" of the film is beyond (almost) everything seen in the genre. Loopholes of the comic remain largely conceptual: the color gamut, the atmosphere, the notion of an exhausted Wolverine that he no longer wants to be a hero. "Logan" unexpectedly succeeds and is much more akin to "Deadpool". The film shows why Logan is tired of being Wolverine, just like Hugh Jackson himself. In an innovative way, hero and actor merge, even their common health problems.
The latest film about Logan aims to give fans everything they wanted to see from the Werewolf, and it is far from being limited to violence. The heroes are outdated but also grown up. Hugh Jackman says in an interview that the film does not even develop into the canon of X-Men movies (before being repaired by producer Simon Kinberg). In this connection, Logan treats comics as a myth or an exaggeration of actual events. For the last and last time there is no emblematic yellow-blue suit, but for the viewer it is very clear that he can not be present in such a heroic interpretation. James Mangold's film has no unnecessary characters, unlike most X movies. The personality system is concentrated around Wolverine, Professor X, Caliban (Stephen Merchant) and X-23. The relationship between Wolverine and Charles Xavier is one of the film's engines. For the first time, Professor X is causing both fear and regret at the same time, and his interaction with Logan has long been on the board of a teacher and a disobedient disciple. Most unexpectedly, Patrick Stewart manages to make one of the best roles in his career at all, the very idea that one of the world's most dangerous brains is ill, has been developed in a great way and with incredible Mangold directorial decisions. The inclusion of the albino Caliban is another pleasant surprise - the comedian makes Caliban more than a plot device, to provoke even sympathy. And Daphne Keane, whose first role in cinema is like the X-23, is undoubtedly the biggest hit in the casting. All of us, as viewers, have seen mischievous children who can crush a movie or, as in the Netflix Stranger Things series, to raise it to a high level. The X-23 is not just a great addition to X-mythology, but in many aspects the logical and emotional core of Logan: The Wolverine.
Logan's story is clean and straightforward in the best sense. Logan's latest adventure portrays him as a veteran who is already leading a simple life, working as a limousine driver and refusing to be a hero many times. Logan lives together with the mutant Caliban, who takes care of Charles Xavier. Professor X, like Logan, is hiding from the world, but not at his own will. The villains in the film are more than one, but their motivation is not related to the capture of the world, but to the upgrading and breeding of mutants to be "Logan" represents full-blooded relationships between multi-layered characters who are much closer to us than to latex demigods. Dialogue is sophisticated, measured and crafted, words are in place and have their weight, and silence is among the characters of the film, thanks to the X-23. John Masterson ("The Gladiator") is one of the biggest plus - almost every picture is like a picture; the color gamut is raw but varied, with winks at Mad Max, The Fellowship of the Ring and Westerns, among which "Unforgivable" and of course "Shane" from 1953. Logan: The Wolverine is a Western and true deconstruction of the comic film. It is the R rating experiment (16+ in our country) that comic fans and connoisseurs of quality commercial cinema wanted to see for a long time. There is no scene behind the inscriptions, partly because "real movies have no scene behind the inscriptions" (Christopher Nolan's words), and above all because it is very important to know when to stop.