Logan
Logan
Rendező:
James MangoldOperatőr:
John MathiesonZeneszerző:
Marco BeltramiSzereplők:
Hugh Jackman, Patrick Stewart, Boyd Holbrook, Dafne Keen, Stephen Merchant, Richard E. Grant, Eriq La Salle, Elise Neal, Elizabeth Rodriguez (több)Streaming (3)
Tartalmak(1)
Az egyik legerősebb mutáns ő. Szelídíthetetlen, elpusztíthatatlan, kiismerhetetlen. És szeret szivarozni. Egy titkos katonai fegyverkísérlet alakította annál is keményebbé, amivé a génjei tették. A csontjait adamantiumötvözetre cserélték, ám azt a képességét, hogy a sebei azonnal begyógyulnak, nem vették el tőle. Ökléből gyilkos karmok bújnak elő, és nem fél használni őket. A kanadai erdőkben érzi magát igazán jól. Magányos. Bosszúálló. Nem barátkozik senkivel. De valaha egy csapat tagja volt. X-Men volt ő is. És az emlékeknél talán nincsenek fontosabb dolgok... (InterCom)
(több)Recenziók (20)
Felnőtt akciófilm, amely úgy dolgozik a karakterekkel és az érzelmekkel, mint egy epikus drámában. Valósághű, hangulatos helyszíneken, James Cameron-féle akcióval és az eddigi legjobban működő, ultrasötét Beltrami-zenével (de csak hallgatásra nem lesz jó). Plusz egy filmzene sláger Tarantino Django című filmjéből. Néhány évente adok 5 csillagot a képregényeknek.
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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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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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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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Everything has a price - Singer knew it at first. And Mangold is now paying her interest on all the excesses, cardboard, digital cotton wool and unfinished work. Brutal, explicit, socially dystopian, yet very nostalgic and sensitive to the characters that the film undresses from leotards and impales them with deadly diseases, coughs and doubts. No, Mangold is not an elite director. Sometimes the dark tone is on the brink of exaggeration, sometimes you can really see inside of it, but in the last shot it hit me as deeply as any other X-Men movie. It is in a way an e-Revolution. Logan uses it not only for vulgarisms and unusual anatomical clarity, but also for opening up a very unhappy vision of the future, in which heroism is just a dull memory from scuffed comic books. America in 2029 built from hints, but very current hints. Children of Men in a superhero version. Logan hurts. And that is good. A film for pessimists who can't stop believing.
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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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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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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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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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It was spoiled by the unnecessarily vulgar Professor X... After all, greater accessibility doesn't necessarily mean that even such a dignified character, who certainly has dignified scenes in the film, suddenly starts speaking in such a rough way. But otherwise I'm satisfied. The acting and filming (especially remembering Mangold's previous Wolverine) is excellent, and the fight scenes are up there with the best ones involving Bryan Singer's Wolverine - they're just bloodier, which isn't a bad thing, although I'm not one of those who "missed it all along". I also liked that the trailers (which didn't particularly excite me) didn't reveal everything, and Logan has quite a few trump cards up its sleeve.
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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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Johnny Cash's song “Hurt”, featured in the first trailer, fits perfectly with the overall mood and feel of the latest, and indeed last, Wolverine film. Logan is past his prime and, consumed by the past, is more likely just surviving, and caring for a dangerously ill Xavier makes him even more exhausted. With the arrival of a new mutant and a bunch of assassins looking to get rid of this "unwanted experiment", Logan is forced to slip out his adamantium claws a few more times and take down more than one bad guy. The film constantly radiates a kind of foreshadowing of the slowly coming end, hiding behind depressing and weeping images – but you still feel hopeful. Every journey, like everything else, will one day come to an end, and Logan's swan song left a solid impression on me, and even if I’m not giving it full marks, I was still satisfied with such a conclusion.
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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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My first impressions after leaving the cinema were full of euphoria mixed with strong emotion and perhaps even sadness. Now, with some hindsight, I must say that whenever I remember Logan, those powerful emotions are still there. It's been quite a while since I last got to see such a gem of a movie. A perfect mixture of concentrated drama, action, sci-fi and western in the best comic book movie since the Dark Knight, accompanied by an absolutely brilliant soundtrack and great actors. Hugh Jackman is acting as if his life literally depended on it. In those 17 years between the first X-Men and Logan, he went on from being a lesser-known Australian to become a versatile actor and a living legend. I know I say this about practically every X-Men movie, but Jackman was simply born for the role of Wolverine, so I’m all the more sorry that this is his farewell to the role, but a well-deserved and perfectly timed one at that. Finally, where this movie really struck gold was with the absolutely awesome Dafne Keen whose every scene brings the movie closer and closer to perfection.
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