Regie:
James MangoldKamera:
John MathiesonMusik:
Marco BeltramiBesetzung:
Hugh Jackman, Patrick Stewart, Boyd Holbrook, Dafne Keen, Stephen Merchant, Richard E. Grant, Eriq La Salle, Elise Neal, Elizabeth Rodriguez (mehr)Streaming (6)
Inhalte(1)
Es ist das Jahr 2024. Die X-Men gibt es nicht mehr, und Logans Heilfaktor nimmt immer mehr ab. Eines Tages bittet ihn sein schwerkranker Freund Charles Xavier, sich einer gewissen Laura anzunehmen - einer jungen Mutantin, die Logans DNA teilt. Laura wird von der skrupellosen Essex Corporation gejagt, die hinter dem Geheimnis in ihrer DNA her ist. Der gealterte Logan nimmt den Kampf auf. (Puls4)
(mehr)Kritiken (21)
I'm utterly destroyed and searching in vain for the right words. Gritty, brutal, suspenseful, action-packed, incredibly cool, with an awesome Western twist... That all sounds pretty lame compared to the movie. In short, it's an absolutely spectacular experience that should not be missed by anyone who enjoys watching movies. Whether you're into comic book movies or not. Of course, you'll enjoy it a bit better if you're in the know, but it can be seen on its own as well. Hats off to Jackman, he did some really incredible stuff. This is what I mean by "giving it your all". The music is perfect too. And that girl, Laura... Dear God!
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Ein Actionknaller für Erwachsene, welcher mit den Figuren und den Emotionen wie in einem epischen Drama arbeitet. Mit realistischen Schauplätzen, voller Stimmung, mit einer Action wie von James Cameron und mit der besten, megadüsteren Musik von Beltrami ever (nur zum Anhören ist sie aber nicht gerade geeignet). Plus ein Soundtrack-Schlager aus Tarantinos Django Unchained. Comicfilmen gebe ich 5 Sterne nur einmal in ein paar Jahren.
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Alles hat seinen Preis - Singer wusste das schon anfangs. Und Mangold zahlt diesen nun für all die Fehltritte, Wellpappenelemente und digitale Watte mitsamt aller Unfertigkeiten sowie aller Zinsen. Brutal, explizit, sozial dystopisch, und dennoch sehr nostalgisch und sensibel im Bezug zu den Charakteren, welche der Film ihrer Trikots entblößt und sie mit tödlichen Krankheiten, Husten und Zweifeln geradezu durchspickt. Nein, Mangold ist kein Eliteregisseur, manchmal schwankt sein dunkler Ton am Rande der Übertreibung, ein andermal sieht man alledem nur allzu sehr in den Magen hinein, jedoch bei der letzten Kameraeinstellung hat es mich ebenso sehr gepackt, wie kein anderer X-Men Film. Es ist gewissermaßen ein/e eR(volution). Logan: The Wolverine bedient sich dieser Elemente nicht nur in Anbetracht der Vulgarismen oder ungewöhnlichen anatomischen Anschaulichkeit, sondern auch deshalb, weil er eine eher traurige Zukunftsvision eröffnet, in welcher das Heldentum nur eine benommene Erinnerung an abgewetzte Comichefte ist. Ein aus Hinweisen, wenn auch aktuellen, im Jahr 2029 aufgebautes Amerika. Children of Men in einer Superheldenversion. Logan: The Wolverine tut weh. Und das ist gut so. Ein Film für Pessimisten, die einfach nicht aufhören können zu glauben.
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Der überflüssig vulgäre Professor X hat den Film meiner Meinung nach verdorben… Auch wenn er für ältere Zuschauer*innen bestimmt ist, muss das nicht gleich bedeuten, dass so eine würdige Figur, die im Film würdige Szenen hat, auf einmal so derb spricht. Sonst bin ich aber zufrieden; der Film ist toll gespielt und aufgenommen (insbesondere wenn man sich an Mangolds vorhergehenden Wolverine: Weg des Kriegers erinnert) und die Kampfszenen kommen den besten Szenen gleich, in die Wolverin von Bryan Singer verwickelt wurde. Sie sind nur blutiger, was nicht schlecht ist, obwohl sie nicht zu denjenigen gehören, denen sowas "die ganze Zeit gefehlt hat“. Es hat mir auch gefallen, dass die Trailer (welche mich nicht besonders begeistert haben) nicht alles verraten haben und Logan ziemlich viele Trümpfe im Ärmel hat.
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Cashs Song "Hurt", der im ersten Trailer zu hören war, passt perfekt zur allgemeinen Stimmung und zum Gefühl des neuesten und letzten Wolverine-Films. Logan hat seine besten Jahre hinter sich und wird von der Vergangenheit eingeholt. Das Überleben, während er sich um einen gefährlich kranken Xavier kümmert, erschöpft ihn noch mehr. Mit dem Erscheinen eines neuen Mutanten und einer Gruppe von Attentätern, die dieses "unerwünschte Experiment" loswerden wollen, ist Logan gezwungen, ein paar Mal seine Adamantium-Klauen auszufahren und mehr als einen Bösewicht zu erledigen. Beim Zuschauen strahlte ständig eine Art Vorahnung des langsam nahenden Endes aus dem Bildschirm, versteckt hinter deprimierenden und traurigen Bildern - aber man spürte dennoch Hoffnung. Jede Pilgerreise geht, wie alles andere auch, irgendwann zu Ende, und Logans Abgesang hat bei mir einen bleibenden Eindruck hinterlassen, und auch wenn ich ihm nicht die volle Punktzahl gegeben habe, war ich doch mit diesem Ende zufrieden.
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“There's no living with a killing. There's no going back from it.” Deadpool (and before it, for example, Kick-Ass) used an R-rating for infantile silliness. Logan is an adult drama with Oscar ambitions (which are overly obvious in places) in which someone occasionally gets their head ripped off. Symbolically, Wolverine, which seventeen years ago was instrumental in getting Hollywood to take comic-book movies seriously, now graphically exemplifies the evolution that the genre has undergone over the intervening years. Only time will tell how much of a game-changing film Logan will be as it closes one phase and opens another (as was the case with westerns such as The Wild Bunch). ___ Despite its sweeping runtime, the film stays much more grounded than other superhero flicks. It tries to win viewers over with a small cast of believable characters with understandable motivations rather than with epic action (the action scenes are not only very raw and “earthy”, which is aided by the low camera position, but unfortunately also rather chaotic). Unlike Nolan’s Batman movies, the narrative is very straightforward, as it stays with the main character’s point of view throughout, which, however, it manages to use to its advantage. ___ Logan is a portrait of a world that has stopped believing in heroes and happy endings. People distrust each other and consider a loaded gun to be the only valid argument. Power is in the hands of corporations involved in the military-industrial complex, for which people (especially poor people) are just another deductible cost item. Jackman’s burnt-out renegade, who no longer cares about anyone or anything, gives a face to this social lethargy (or bad mood, if you prefer). Like Clint Eastwood in more than one role, all he has to do is look irritated and say the words “shit” and “fuck” between his clenched teeth. The film adheres to the slogan that children are our future, but these children are characteristically the offspring of immigrants and, furthermore, mutants (i.e. “others”), which is to say people who are doubly unwanted in today’s America. The promised land, then, is naturally Canada. ___ James Mangold is probably the first director who has been able to fully exploit the potential of superhero narratives to comment not only on the universal battle between good and evil, but also on the times in which we live (again, there is a parallel with westerns, which began to be used for the purpose of commenting on the present sometime in the 1950s, when Shane, which is quoted in Logan, was made). Unlike earlier films such as The Dark Knight Rises and Captain America: The Winter Soldier, Logan involves more than just a few allusions to the current political situation; Logan is riddled with social malaise, which is apparent in the melancholic tone and the meditative pace of the narrative (which, however, is always kicked up a gear by the next action sequence). ___ I don’t recall ever experiencing a comic-book movie so intensely, let alone having it resonate within me for so long. Perhaps that’s because of my current mood, or maybe because of this day and age in which such sincere stories about the fact that we have to help each other make sense. In any case, I would not be angry (or surprised) if this uncompromising settling of accounts with the genre became the kind of classic that, for example, Unforgiven is today. 90%
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An admirable personal devotion to an iconic figure that far surpasses all those who have been allowed to step out of groped pages and onto the big screen, in the care of a mediocre (at best) executor who rides a comfortable rating and grinds the hero's blood so thoroughly that the path to a readable ending through instant depression is too obvious. The fact that a little girl in a rage blows up a military commando is fine, but the fact that a bitter road movie with a western background leaves me emotionally empty is not. But at least Fox (un)consciously checked off the "The Last of Us" adaptation.
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What they promised us, that's what we got. Logan is more than a dignified farewell for Hugh Jackman and his most famous role, and finally a film that fans have been calling for for years. The rough action scenes, without much emphasis on nice choreography, and where extreme physicality and animal fierceness prevail, are very cool, but it is more of a drama than an action film. And a damn good one at that. The people behind this film understood that the announced "maturity" is not achieved through headshots and severed legs, but through characters and their behavior. Logan has never been this broken and interesting, and what happens to Professor Xavier is something you won't find it amusing at all, and the young Dafne Keen is an acting discovery on par with Haley Joel Osment. Add to that the excellent music, the western atmosphere, and the extremely intense finale, and you get one of the most interesting comic book movies ever made, which deserves to stand alongside The Dark Knight. A few years ago, we wouldn't even dare to hope for a film like this.
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There are many movies to give audience a chance to understand the character of Wolverine. In general, we all know what Hugh Jackman’s intentions were. Still he was one of the first superheroes to appear in Hollywood in the late 1990s and deserves tremendous respect for it. However, after all these years with Wolverine, I understand very well why the creators wanted to end Wolverine's movie journey. Once and for all. Until this day, I haven’t fully comprehended the films’ right order. True, I never really tried to find out but the movies didn’t make it easy for me either. Fortunately, the premise is very clear in this movie and it is not difficult. Quite the opposite. Hugh Jackman said his goodbyes with style, of course, so you can expect to see a great action ride with a main hero who in this film convinced me why I should never forget him. Thank you, Wolverine, and good bye!
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The more raw, the more mature. The comic equivalent of the Unforgiven / Gran Torina, in other words thank God it's not an adaptation of Old Man Logan, but an uncompromising advanced neo-western road movie from the department of "no change that things will go better, we just need to last till our death". It's just another Eastwood movie about the autumn of the life of an icon tortured by inner demons, only the footage is unreasonably long.
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Definitely the most brutal, raw and darkest comic-book movie ever made. The desert to western vibe is absolutely fantastic, the bad guys are cool, and Wolverine and X23 pair up and tear apart anything that comes to hand. The action is perfect in every way and the quality of the gore is top notch. The scene with the black men in the building is one of the most atmospheric scenes in recent memory and the finale is literally breathtaking. It's a bit of a shame that it's not a very adrenaline-fuelled ride, in places the pace is really more sedate, especially before the finale the director had his foot on the brake, and the humour is also in short supply for a comic-book movie, but the atmosphere and the hard R-rating make up for it perfectly. This year I really don't want to compile a top list, since it's only March and there are already three contenders for the top spot. 90%
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I can't resist any part of the mutant universe, including Wolverine's solo movies or the much-derided X-Men: Apocalypse, and even where I'm on the fence about a given film (X-Men: The Last Stand), I can still enjoy it over and over. And yet now, half a day after seeing this film, I cannot imagine that stories from this world will continue to be told. Logan, in a hundred and one ways, serves as the final chapter, the most human and believable one. It is a bloody, uncompromising, and depressing chapter, but precisely because of that, the clear message of the entire X-Men saga resonates much louder than I dared expect. Remembering almost any scene tightens my heart and I nostalgically immerse myself in the times when seventeen years ago, as a teenager unfamiliar with comics, I went to the local cinema for something called X-Men and in an empty cinema first discovered what adamantium is. Hugh Jackman made it happen, and has done so now more responsibly than ever. Except that back then, it was for the first time; this time it's definitely the last.
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Thank God it's not a Marvel movie! I went to see Logan in the theater with absolutely no expectations and I really got Logan. I don't think any of the action in this movie is important at all, in the end the journey isn't important either. What's important is Logan himself and his life. I keep coming back to it three days after the screening, so it was definitely worth it. We get a summation of the entire Wolverine saga in the form of a tortured old man who basically just wants to live out his days in peace, which of course he's not meant to do, because suddenly he's got a tiny mutant to take care of in addition to a retired mutant. Plus, this little mutant is incredibly similar to him. Hugh Jackman is an incredible actor, the things he can play, all the emotions that were certain to rage within his character floated to the surface and the viewer absolutely knew how he was feeling, even without any big emotional display. A great farewell to an icon. A very strong 4 stars, maybe I'll bump it up to 5 after another viewing.
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A powerful, human drama in a meaty comic-book gravy. Logan isn’t meant for kids: in this movie kids decapitate people. A gloomy world in the near future where most mutants have died out and where truck drivers are out of work, a world that is dusty and faithfully copies where world is heading. Dafne Keen is wonderful. Patrick Stewart returns to fill McAvoy’s shoes. Jackman in best ever form. A dignified farewell. Well, that’s that.
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The only X-Man to get what all the previous ones lacked, an overlay of raw reality and mortality. It is also the first film where the audience suspects quite vehemently from the beginning that not all the characters will live to see the end, but the primary question is whether or not they deserve a dignified ending. I would be sparing with further superlatives, though, the R-rating is fine, the action is clear and properly bloody, there is no shortage of great screenwriting ideas, or good lightweight filler in the style of the main protagonists' bickering. Logan offers a unflinching look at our favorite heroes, and this lethargic shock causes extremely high ratings. It is good, but for a ninety percent rating, it’s a film that is not layered enough, dealing with too few things. It's basically "just" a road movie about the search for oneself and the unrecognized warmth of home. The claws certainly don't make a net class difference.
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A breathtaking work of art that you just have to love. Set against the depressing backdrop of a sunny backwater, to the sounds of touching hours of pain, suffering and the found humility of two of the most iconic characters in the entire Marvel Universe; more authentic, more poignant and more emotional than anything that has ever been or will ever be created as a spin-off of an original comic book. At times it may seem that we're merely watching a newly conceived story about a bunch of life's reprobates on their last fateful trip, but everything that happens from the visit of a warm-hearted black family (one of the most beautifully valuable sequences in film history) will have us utterly shredded and convinced that this is a movie, a movie for Jackman as he says goodbye to a piece of himself, a movie for Mangold as he takes the last steps of his unhappy child as a father, and a movie for audiences who have almost forgotten how raw and real big blockbusters can be. Give Jackman an Oscar already! All those shitty sycophantic stars playing antisocial shaky intellectuals or wasted fags can go fuck themselves! This is acting that the person in question breathes for, and a character that makes audiences cry and go to the movies.... The R-rated touch is just fabulous, the bad guys are brilliant and it's especially nice to see Richard E. Grant finally in a proper big movie, the guy should have done more a long time ago.
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I, old and naive, always think nothing can surprise me and then suddenly a blow from the right. The death of an iconic X-Men legend in ever slower healing wounds on a pile of butchered corpses is almost violently stripped of all grandeur. The first of three (excellent and painful) action scenes comes after forty minutes of quiet apologetic whispers. The R rating is not so much an attraction this time as an inherent part of the plot, and here and there surprises with unseen intransigence (a spear piercing the body of a ten-year-old girl, however immortal, is a proper comeuppance to Marvel's hitherto impotence). An incredible prognosis of the fate of superhero movies in 2029, limited to whispered misfits who no longer interest anyone and, for all their former glory, are reduced to the fringes of society. The tiny hints of the shape of the future world, built on consumerism, retreating to cities and the hysterical decadence resulting from the defeat of a new potential evolutionary stage of man without that man having to do anything about it, are the strongest parts, and it's a bit of a shame that the film works with them so sparingly. It's not up to a full rating, since it chokes perhaps a little comically at times, the final passage is back to the more conventional, and as much as Beltrami is making bombshells, I see it as more of a professional understanding of the assignment than anything that comes straight from it. Otherwise, though, in the context of contemporary comic book blockbusters, total respect.
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The grim, almost depressing atmosphere definitely deserves a positive review. Otherwise, I guess the filmmakers were mainly trying to give us a glimpse of what retired superheroes do. While the typical American senior citizen goes to retire in Florida, the mutants retire in an old tank. I have sort of mixed feelings about the film as a whole. I couldn't understand why the terrifying mutants who have been trained as assassins for most of their lives are fleeing from danger like a flock of chickens. Plus, the final fight was as unpredictable as the fights at the end of Van Damme movies.
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A fantastic farewell to the character, and I truly hope that nobody else will ever play him. Hugh Jackman is great, Patrick Stewart is great, but Dafne Keen is also breathtaking. An awesome clash of three generations that doesn't even mind not having a truly memorable villain.
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Well, even a movie based on a comic book can be considered "completely serious" and yet maximally inventive – or "serious yet ballsy". But if I'm being completely honest, I didn't feel very good about it. After all, I saw the first X-Men when I was something like 14, and I've been gobbling up Jackman as Wolverine ever since. Seeing his character at the end of the road was intense. Of course, James Mangold, who is one of the more progressive group of comic book directors, contributed hugely to this epic (and at the same time fucking depressing) end to the Wolverine saga. Hugh Jackman turned in his best and most authentic performance as Wolverine, which combined with the brutal action scenes and depressing atmosphere, made for one of the best films based on a comic book. I’m clapping and crying.
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