'Logan' Director Wants an X-23 Spin-Off Movie

by Abel Hampton February 18, 2017, 0:31
'Logan' Director Wants an X-23 Spin-Off Movie

"How do we find that girl?' And we did". Those people aren't wrong-the ideas are definitely there in the material. While Logan could have stood for a few more light-hearted moments to give audiences a chance to recover between catastrophes, give yourself a drink and half an hour to recover after watching, and I'm sure you'll agree that this is the Wolverine movie you've been waiting for. A story's darkness-or even just its alleged darkness-can be used as a cudgel against anyone who recoils from it: If you don't respond to, say, stern, ashy images of largely dark-skinned children (read: immigrants) being hunted down in the forest, then you're just willfully ignorant of the grim side of human nature.

Next, the violence. Director James Mangold has not held back at all. He's living somewhere near the Mexico border, driving a limo for a sort-of living, and he's drinking too much. "Please, please give me something new".

Into their dying world steps a former nurse named Gabriela (Elizabeth Rodriguez) and a young, mute girl named Laura (Dafne Keen). "I had never heard of X-men when I got the part so it's been an education for me". Laura is a quiet, watchful kid, her eyes radiant with mistrust. Played by Boyd Holbrook, Pierce's opening scene is one of my favourites of the film and he makes it clear from the moment he appears on the screen that this world is built for him.

There's bleak nihilism aplenty in Logan.

Logan is a punch in the gut in all the right ways.

If only tapping were enough. The movie shows "Wolverine's potential for violence", Mangold said, which fans "have longed to see". Buoyed by the financial success of Deadpool, 20th Century Fox decided that it was worth a risk to make Logan R-rated, too. "It's launched my career, so I owe everything to it". But come on-you knew that was coming, didn't you? The issue isn't that they die, but that their deaths carry surprisingly little weight. The bathroom is as dirty as you might think a gas station bathroom might be, and there's Logan sitting Charles down on the toilet so he can pee - of course while Charles argues the whole time that he can do it himself. That's not abrasive, self-aware honesty-it's more like an advertisement for how abrasively self-aware this picture is. Or more specifically, someone: James Mangold. Here, Mangold reflects upon the epic Western and some of its respective masters (George Stevens, John Ford, Clint Eastwood) in his aim to adapt Mark Millar and Steve McNiven's Old Man Logan. Bad things happen to wonderful people, because this isn't just a comic-book movie-it's America. The illustrations also serve as thought-provoking minor plot points, regarding escapism and how the truth behind heroes is often embellished simply to make for greater fiction.

While Logan does not necessarily want for action (and fear not: there is plenty of stabbing and gouging that earns it its "R" rating), this is a deeply considered drama first. But there's nothing exhilarating or pulpy about Logan. Jackman works hard here, and his performance does away with vanity altogether: He looks appropriately thickened and heavy and tired-his face has the contours, and the character, of a battered hat.

Dafne Keen is terrific as Laura/X-23, and I imagine she'll be a fan-favorite. He poisoned her at a young age to awaken her mutation. But themes aren't feelings or attributes or actions; they're nearly not even ideas. The rest was just them. Logan is the kind of movie that shuts up elitists who can't fathom a comic book movie transcending popcorn entertainment, or offering up personal connections to superbly crafted characters.

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