Hugh Jackman grits his teeth for one final great Wolverine performance

In many ways, “Logan” is the Wolverine film that fans have begged for since Hugh Jackman first bore the claws 17 years ago. The R-rating gives leeway to the aspects that needed to happen for Wolverine to finally be unleashed, and it is done in such a way that doesn’t resemble anything in the comic book genre thus far. As a whole, “Logan” carries this sentiment, and disregarding the excessive profanity, bloody violence and adult-natured content, the film itself feels like a reflection on not just the “X-Men” franchise, but on the comic book genre as a whole.

The film finds its footing with Jackman’s now routine portrayal of the titular character, but it’s ultimately Patrick Stewart’s return as Charles Xavier that gives “Logan” its biggest breath of fresh air, with the thespian ultimately being given free rein to portray the character in such a way that hasn’t been examined in the franchise’s seventeen-year run. Xavier, the revered teacher and mentor, is broken, alongside Logan himself, and the flaws of his past are inching forward to catch him as he moves toward the end of his life.

While the movie never dives into the specifics of the setting, the implications of off-screen events are gradually built on during the two-hour runtime, but these never supersede the action happening in the present. It’s 2029 and mutants are all but extinct. Logan spends his days as a limo driver at the Mexican border, seeking enough money to eventually escape from civilization and live out the rest of his days comfortably in isolation. While he can’t age, the adamantium in his skeleton has begun to poison his body, and he is rapidly deteriorating. The film never feels like a race against time though, despite the plot ultimately boiling down to an extended chase sequence a la “Mad Max: Fury Road.” While many comic book films inevitably end up being fast-paced slugfests, “Logan” obliterates this notion entirely and moves at a pace reminiscent of a classic Western film, with a touch of noir to spice it up.

The whole film seems hell-bent on breaking the traditional superhero narrative, replacing colorful costumes, CGI-explosions and comedic one-liners with a gritty narrative, brown color palette and harshness that extends beyond the violence and into the dialogue. Violence is on full display here, and it’s a glorious sight to see. Jackman’s character, despite his age, manages to slice and massacre everything that can walk with ease, and the raw emotion involved in this combat is what has made his portrayal all the more excellent as time has progressed. Not to be redundant, but this isn’t your everyday comic book ordeal, and at one point in the film, director James Mangold even seems to imply that the previous “X-Men” movies didn’t even exist, and that they are fictionalized versions of Logan’s life.

This is not only a swan-song to Jackman’s Wolverine, but also an excellent manifestation of the existential crisis that seems to exist in the world as we know it. The bulk of the film takes place near the Mexican border, a band of refugees tries to escape from government contractors and the price of prescriptions is a subtle but bleak indication of the state of health care.

Whereas movies have often provided escapism from society, with comic book movies driving that idea to new heights, “Logan” instead aspires to be introspective. This is a superhero film that doesn’t feel anything like a superhero film. It’s emotionally moving, with an ending that supersedes anything that a comic book picture has aspired to do. As Jackman turns the page, the comic book genre movies forward at full speed, and this is a film that will influence the genre for decades to come, in such a way that “The Dark Knight” managed to do in 2008. “Logan” is Fox’s take on a Shakespearean tragedy, and the end product might just be its best film yet.