Hugh Jackman Puts Wolverine to Rest in the Inspired ‘Logan’

Hugh Jackman has such a youthful presence in real life that it’s easy to forget just how long he’s been playing Wolverine. Starting with 2000’s “X-Men,” Jackman has reprised the role in eight features spanning over a decade and a half – a feat nearly as impressive as the muttonchops he breaks out for the role. “Logan,” directed by James Mangold, is Jackman’s self-proclaimed swan song for the character, a dystopian elegy that leaves behind superhero trappings for Western grit and brutal R-rated violence.

It’s a shame the final product is such an odd, disjointed mess. Which isn’t to say that there isn’t plenty to love in “Logan,” starting with its excellent core cast. Jackman is his usual solid self as the aging Wolverine, infusing the character with the creaky vulnerability of a man who has outlived his friends and sees his own end just behind the horizon. The only other carryover from the X-Men franchise is Charles Xavier, played on the brink of dementia by the great Patrick Stewart. This is the best Stewart has been in the role, transforming Xavier from the paternal leader of the franchise into a broken old man who watched his dream turn to dust between his fingers. Nevertheless, the real breakout star of the movie is Dafne Keen as Laura, a silent little girl whose familiar claws and mysterious past tie her to Logan in ways he’s not entirely comfortable with. Keen is excellent in her first feature role, a blend of innocent and feral that electrifies the film whenever she’s onscreen. She’s the breakout star here and don’t be surprised if you see her pop up again very soon. “Logan” is at its best when the three leads are simply allowed to bounce off each other as they drive north, hoping to escape the generic evil scientists looking to recapture Laura and put Wolverine down for good.

Unfortunately, “Logan” doesn’t deliver on its promise in execution. The film lurches between sequences as if transitional beats have been randomly cut out. The film is littered with strange edits that confuse the viewer, and the action blocking in general is haphazard and confusing. Some character beats are repeated two or three times while others are absent for no reason at all. The most egregious missing pieces are the actual bonding moments between Logan and Laura. The film seems to take for granted that the two grizzled loners soften and begin to care for each other without bothering to show it happen, and what should be a pretty strong emotional climax elicits little reaction in response. The film routinely whiffs its emotional punches. What should be a devastating exercise in despair and hope just winds up being one last opportunity to watch Hugh Jackman cut people up.

It’s difficult to know exactly who to blame for this. Mangold has a mixed track record as a director, with the exception of his stellar blockbuster remake of “3:10 to Yuma.” The writing team, composed of Mangold, Scott Frank, and Michael Green, are all seasoned professionals with a lot of credits under their belts. The problems with “Logan” are so disappointing and disruptive, precisely because the ideas underneath them are so good and because Jackman deserves a better send-off than the mess he ended up with.

Logan” opens nationwide March 3.