A film review by Craig J. Koban August 2, 2013
2013, PG-13, 126 mins.
2013, PG-13, 126 mins.
Hugh Jackman as Logan / Wolverine / Brian Tee as Noburo Mori / Will Yun Lee as Kenuichio / Harada / Silver Samurai / Svetlana Khodchenkova as Viper / Hiroyuki Sanada as Shingen Yashida / Tao Okamoto as Mariko Yashida / Hal Yamanouchi as Yashida / Rila Fukushima as Yukio
Directed by James Mangold / Written by Mark Bomback and Christopher McQuarrie
For one reason or another, 2009’s X-MEN ORIGINS: WOLVERINE just never really gelled as successfully as it should have as the first solo adventure of everyone’s favorite adamantium clawed anti-super hero. It perhaps had too many side-characters, too little focus on telling a compelling origin story for its title character, and ultimately it lacked an undercurrent of lasting intrigue.
now comes THE WOLVERINE, which has more than learnt from the mistakes of
the last Logan-centered film and instead decides to strip the character
– and the X-Men universe – down to tell a much more thoroughly compelling,
intimately rendered, and character driven tale.
The large scale special effects and action set pieces are indeed
still here, but THE WOLVERINE provides a much needed layer of
psychological and moral complexity to its character that was, frankly, not
there in previous cinematic iterations.
might have something to do with the injection of director James Mangold (3:10
To YUMA, KNIGHT AND DAY,
and WALK THE LINE) into the mix, who seems
to understand – like Christopher Nolan before him – that the finest
way to make a super hero film is to not go out of one’s way to make a
super hero film with the usual and expected genre staples.
Both faithfully and somewhat loosely based on the revered 1982
comic book series by Chris Claremont and Frank Miller, Mangold and
screenwriters Christopher McQuarrie, Scott Frank, and Mark Bomback have
opted to tell a thrillingly realized self-contained story of the titular
mutant that both transplants him to Japan while, at the same time, evokes
the classic essence of iconic Westerns, yakuza crime noirs, and samurai
martial arts auctioneers. THE
WOLVERINE still manages to keep the established mythos of the
previous X-MEN and WOLVERINE films, but it nonetheless fuses that with its
own uniquely personal storyline that segregates itself from those films.
This is what all spin-offs should aspire to do.
X-MEN films have such a convoluted time chronology that even I get
crossed-eyed just thinking about it: X-MEN ORIGINS: WOLVERINE took place
before the events of 2000’s first X-MEN picture, whereas THE WOLVERINE
takes place shortly after the events of 2005’s X-MEN:
THE LAST STAND, which, you may recall, had Wolverine being forced
to kill the love of his life, Jean Grey, to protect the fate of all
mutants in the future (bummer, bub).
However, this new film opens with a sensationally rendered
flashback to WWII, where Logan (Hugh Jackman, astonishingly more ripped
than ever in his sixth time out as his nearly invulnerable Canadian
mutant) saves the life of a Japanese soldier named Yashida during the
American A-bombing of Nagasaki. Thankfully for Logan, his healing abilities make it easy to
wield off the bomb’s blast and keep the young mortal man alive.
to the present as Logan is haunted by memories of not only saving the
soldier, but also with the post-traumatic stress of killing Jean Grey (Famke
Janssen), who appears and disappears in the film as a ghostly aspiration
that plagues Logan’s mind. While
eking out a nomadic existence in the northern Canadian wilds, Logan is
tracked down by Yukio (Rila Fukushima), who has been sent by the aging and
dying Yashida (Hal Yamanouchi), who in turn has emerged as one of the wealthiest
industrial tycoons in the world. Yukio
persuades the initially reluctant Logan to return with her to Japan to
speak with Yashida on his death bed, who does offer Logan a gift in
exchange for saving his life all those decades ago: he will grant Logan
mortality in exchange for his mutant healing abilities.
offer is tempting to Logan, who has been cursed, so to speak, with living
far beyond friends and family members that have perished in the recent and
distant past. It will allow
him to…well…die. Yet,
Logan nonetheless seems reluctant to grant the dying man his wish, and
afterwards finds himself caught in a conspiracy to kidnap Yashida’s
granddaughter Mariko (Tao Okamoto), who will inherent the family business. She has protection from Kenuicho (Will Yun Lee) and his ninja
clan, but yakuza gangs are a constant threat to her life.
Logan finds himself becoming a de facto protector/bodyguard for
Mariko, taking her as far away from danger as possible.
Alas, more deadly nefarious forces are at play that could affect
the lives of both Mariko and Logan, led by a sultry, but dangerous mutant
named Viper (Svetlana Khodchenkova) whose kisses are lethal.
film’s obvious change of scenery is one of its primary assets.
Mangold makes bravura usage of his Japanese settings and adds an
unexpectedly exotic and lush flavor to THE WOLVERINE that was not really
in abundance in the previous X-Men films.
Yet, the film never loses sight on its character dynamics and
themes, which usually take a back seat in visual effects heavy comic book
films. Part of the swift and
brazen confidence of the film is how it adds a whole undercurrent of
psychological grit and complexity to Logan. Recurring
notions of his own inherent invincibility, which consequently weighs
heavily on his soul, plague Logan as a character.
Perhaps better than in all previous film incarnations of the edgy
X-man, this Wolverine is simultaneously lethal, vulnerable and
deeply guarded. He’s more
satisfyingly world weary, conflicted, and haunted.
He's almost, you could say, a more humanized mutant, which gives the
film more of an edge of unpredictability.
of this is assisted, of course, by Hugh Jackman’s cagey and well-rounded
performance, who fits into Logan’s skin as effortlessly now as, say,
Harrison Ford did into Indiana Jones or Sean Connery did as James Bond.
It’s kind of amazing to see how fresh Jackman still manages to
make playing this character thirteen years after his first appearance.
This time, though, he’s more of a highly and emotionally
reluctant hero, seemingly unwilling to participate in being an actual hero. He’s a
gnarly man of intensity that still has a teeth clenched and ferocious edge,
but paradoxically seems to have lost it as well.
Wisely, Jackman shrewdly underplays Logan more thanklessly than
most critics give him credit for; his Wolverine seems more nuanced and
intricately defined than ever before.
not to say that THE WOLVERINE is bereft of action.
There’s an absolutely stellar and virtuoso sequence that manages
to find new ways to make adversaries fighting on-board a speeding train
feel alive and new again. Mangold
seems to understand how to give all of the martial arts heavy mayhem a
crispness and clarity that so many modern action films woefully lack.
Even when the film does manage to take a decidedly silly detour away from its gritty and grounded approach in its glossy, CGI-heavy
climax – during which Jackman exchanges slashes and blows with a
large-scale adamantium-armored meanie – you are almost willing to
forgive small missteps like that for how superbly the first two-thirds of
the film hold up and keep the narrative momentum going.
THE WOLVERINE is a highly rare breed of summer popcorn fare that places more emphasis of tapping into the fragile mindset of its doomed super hero than it is with big, bloated action and omnipresent special effects. Mangold manages to take a larger-than-life character and populate him in a leaner and more grounded personal storyline of him waging war within his own conflicted psyche. The more obvious comic book film accoutrements are here, to be sure, but THE WOLVERINE achieves a tough dichotomy between appeasing die-hard comic fundamentalists and agnostic filmgoers to the mutant film landscape