The question was, could the filmmakers come up with an exit strategy for their indestructible mutant hero that obeyed the "rules" of the X-Men mythos and gave Jackman a satisfying send-off?
The answer, in Logan, is yes and no. Yes, the storyline is plausible enough (well, as plausible as anything ever is in the X-Men universe). But satisfying? Not so much.
Previous franchise films have explored racism, xenophobia, intolerance, and whether or not social outsiders would choose to be "normal" if they could.
But Logan is one interrupted chase melodrama from first to last, with an endless parade of faceless bad guys to be dispatched in endlessly gruesome ways. (This is the first X-Men movie to get an 'R' rating, and it's not only for the F-bombs.)
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The movie was directed and co-scripted by James Mangold, who delivered a shot of adamantium to revive the series with The Wolverine in 2013 (after the fiasco of X-Men Origins: Wolverine).
This time out, Mangold seems to think he's keeping the focus on Logan's tormented psyche and (often inconvenient) moral decency, by introducing a new little mutant, Laura (Dafne Keen) — grown from Logan's own DNA, right down to the claws — for him to look after.
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But the constant, vicious fighting, as Logan faces off against carjackers, a lynch mob, convoys of sinister government ops, and his own genetically engineered doppelganger, leaves little time for further character development.
It would be helpful, story-wise, if father and daughter found another way to bond besides shredding bad guys. A moment when they compare nightmares (Laura dreams that "people hurt me," Logan, that "I hurt people") is a step in the right direction — but then, the script delivers another platoon of nasty adversaries to be decimated by the family that slays together.
Jackman is up to the task, as usual. But he, the character, and the fans might have wished for the saga to go out with a little less bang, and a lot more heart.