The Wolverine Review

Director: James Mangold.

Starring: Hugh Jackman, Rila Fukushima, Tao Okamoto, Hiroyuki Sanada, Svetlana Khodchenkova, Hal Yamanouchi, Famke Janssen.

Running Time: 126 minutes.

Certificate: 12A.

Synopsis: Set some years after X-MEN: THE LAST STAND, the immortal Logan (Hugh Jackman) now wanders the wilderness, haunted by dreams of his lost love and his former self. When he is summoned to Tokyo by an old acquaintance, he is drawn into events that could change his life – and maybe even end it.

After the misguided mutant mucus that was X-MEN: ORIGINS, THE WOLVERINE is a smart, slick and surprisingly funny caper that does something remarkable; it adds layers to a character appearing in his sixth film. Logan has appeared in half a dozen movies now (including a fleeting but memorable scene-stealer in FIRST CLASS), and for him to still be growing is quite something. Jackman never rests on his laurels, as he could simply coast through these affairs getting by on his looks and easy charm. But it’s apparent he cares deeply for the character and, more importantly, for the fans. He wants to make the best possible WOLVERINE stand-alone film for us, and with director James Mangold has done just that.

It’s a film that exists in an established universe but can be enjoyed on its own merit. It helps if you’ve seen the third film in the trilogy, but if you haven’t, there is enough subtle exposition to fill you in. Our hairy hero is plagued by dreams of his past traumas and, in particular, visitations from his true love, Jean Grey (Famke Janssen), whose ethereal presence is a reminder of the cinematic world our protagonist inhabits. We join Logan in self-imposed exile, all beardy and brooding. After meeting sword swinging badass Yukio (Rila Fukushima), business picks up when he is convinced to journey to Japan. Dying tycoon and old acquaintance Yashida (Hal Yamanouchi) wants more than a farewell, and in return offers Logan the chance to become mortal.

Where great flicks like THE DARK KNIGHT and the more recent IRON MAN 3 didn’t include emotionally complex roles for women, Khodchenkova has a ball with her malevolent mutant, Viper, and is always engaging. Similarly, in what could have been a simpering damsel in distress, Mariko creates a believable story arc as a solid love interest, and Hiroyuki Sanada lends real gravitas to proceedings with his stern turn as Mariko’s father – and he’s got the moves, too. His intentions may be somewhat predictable, but we completely buy him as a cold-hearted monster.

But let’s not forget this is an action movie, and the set pieces are superb. From the chase through the streets of Tokyo shot guerilla-style to thrilling effect, to the final climactic confrontation, it’s balls-to-the-wall adventure. The CG is used sparingly and only when absolutely necessary, such as the flagpole sequence atop a bullet train. This is what action cinema should be – exciting, creative and well paced, and it is testament to Mangold and Jackman that when Logan ends up in mortal combat at 200 miles per hour, you care about the character. Compared to the overlong denouement in MAN OF STEEL, the action scenes feel fresh, serve a dramatic purpose and have some much-needed levity.

Jackman has long been vocal about how keen he was to bring Chris Claremont and Frank Miller’s 1982 mini-series to the big screen, and it is worth the wait. For him to break out two career-defining roles within seven months of each other (the other being his Oscar nominated turn in LES MISERABLES) is nothing short of remarkable. Logan is already one of the most recognisable and best-loved movie characters of recent years, and the team behind THE WOLVERINE have made the film he has deserved for a long time.