Set in the future of 2024, Logan and Professor Charles Xavier must cope with the loss of the X-Men when a corporation lead by Nathaniel Essex is destroying the world leaving it to destruction, with Logan’s healing abilities slowly fading away and Xavier’s Alzheimer’s forcing him to forget.
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My only regret.. Not buying the blu ray instead of the dvd and being able to re watch the film in black and white. I wasn't aware of Logan Noir... I am almost certain that i would of preferred that version more and probably would of felt that it is the superior version. I'm a sucker for B&W and especially Noir in general.
Nearly every comic book film has purely been junk food, as they take from the high-concept, plot-over-storytelling of, well, traditional comic books over traditional literature. It's not odd then that Logan is something greater: as it's a loose remake of an older film that, in fact, was based on a novel. That film is the highly regarded western-- 1953's Shane. And, thus, Logan is much better than junk food.
The special edition black and white version called "Logan Noir" is the vastly superior option. The monochrome aesthetic added so much to the storyline, from the bleakness of the anarchal future to the noted aging of Wolverine and Professor X.
3,5* The rythm is missing. The alternation between powerful drama/ cold hard reality, and the hardcore fighting scenes don't aloud the full development of the characters, and that's a shame. Anyway, this is one of the best "super-hero"movies, treating them like the humans they are.
Digital. We're always so much in search of the classical matrix, invoking it ingloriously about everything and nothing, especially when this nothing is Clint Eastwood, and suddenly there 's this formally classicist film. The spatiality and its times are perfectly integrated in the wide screen for a rare mature fiction in North American's current cinema. An industrial action movie with brains and formal know-how.
Remember when Aronofsky was tapped to direct the last Wolverine? It's doubly a shame that didn't pan out, as this entry validates Jackman's long held passion for a more personal take. Look, I like superhero movies - not for the explodey-punchy stuff, but for their humanity. This works as an epilogue to any happy ending - people get old, they suffer, they die. (P.S. An underused Richard E. Grant is fantastic in this.)
I lost track of how many Hugh Jackman Wolverine movies they made sometime between 2009's X-Men Origins: Wolverine and 2013's The Wolverine. But as one final berserker rage, Logan is good for a simple reason: it knows you can raise the stakes simply by making your heroes vulnerable. I remain unconvinced it's a true commentary or revision of comic book movies—it merely swaps one movie myth for another. But it works.
"So this is what it feels like." The only 'superhero film' since "The Dark Knight" that's understood stakes, consequences and pathos are critical to our engagement with a(ny) narrative; no witty repartee, no beginning/ending starting-position sequel bait, no cosmic carnage without lingering on the painful human toll. Jackman is a revelation, a self-harming, alcoholic mess seeking redemption and love. Guts and glory.