blogging by Andrew Wickliffe

The Wolverine (2013, James Mangold), the extended edition

The extended version of The Wolverine adds some twelve minutes to the theatrical version. I can’t quite remember the differences, but mostly it just makes the film seem longer. Mangold hasn’t got a good pace for it; the fault for that problem, however, lies with the screenwriters.

The film opens with a flashback, moves on to establishing what Hugh Jackman’s been up to since his last outing, then gets him over to Japan with sidekick Rila Fukushima. And then The Wolverine introduces enough suspicious people in five minutes Raymond Chandler would be shaking his head.

But Wolverine isn’t noir (though there are some reasonable Big Sleep comparisons–or should be) and it’s not exactly superhero action either. Mangold and screenwriters Mark Bomback and Scott Frank want to make the film about Jackman rediscovering his will to live. Except he kind of does it in the first sequence after the flashback. There are a whole lot of contrivances–not just in the plot itself, but in the backstory–to get Wolverine to the finish. Way too many.

Mangold just can’t direct the action. The extended cut, which does feature some more action, still doesn’t have the right action. It’s supposed to be a samurai movie, right? Then Jackman should be kicking ass in lengthy, visually dynamic fight sequences. Not surprisingly as Mangold’s direction for the film is mind-numbingly bland.

It’s long, it’s boring, it could be worse. But the studio clearly didn’t cut any good stuff from the theatrical release.

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