The strangest thing about Logan, at least in terms of the plotting, is how director Mangold is desperate to reference a film classic–one with a plot perfectly suited to what he’s purportedly trying to do with Logan–and he doesn’t follow it through. In any of the neat ways he could. Instead, he goes for obvious and superficial.
Mangold is not Logan’s worst enemy, however. He certainly doesn’t help matters, but the script–which he did cowrite–is the big problem. It’s entirely wrapped up in itself; Logan has a long list of contrivances (mostly with the ground situation but also with plot developments and revelations) and, for whatever reason, the script wants to get into all of them. And all the explanations are lame.
Even still, the film would be able to survive if it weren’t for a nightmare third act when the film tries to get away without a protagonist for a while. It’s called Logan, of course, so one would think it’d always be about Hugh Jackman’s aged mutant killing machine who just wants to chill out and live in hiding. He’s got a big secret to keep–one of the ground situation contrivances the film cops out on dealing with entirely–not just from the audience, but from his sidekicks too. See, in retirement from mutant killing machining, Jackman has become a limo driver. He works long hours and then goes home to Patrick Stewart and Stephen Merchant. Stewart’s sick and Merchant’s the live-in nurse and maid, basically. There’s more to it, but not enough. Because there’s never enough in Logan. Everything is supposed to be implied.
Jackman suffers the worst for all those implications. Mangold’s constantly letting other people take the scene in Logan, whether it’s Stewart (who doesn’t exactly steal the show, but only because the script fails him miserably too) or tough guy villain Boyd Holbrook or even pointless cameoing Eriq La Salle. The script demotes Jackman, Mangold does too.
Logan wants to be a lot of things. It wants to be a family bonding movie–not a family movie about bonding, but a movie about family bonding–it wants to be future commentary (Mangold’s weakly executed future setting is another of Logan’s many painfully obvious problems), it wants to be a tough action movie, it wants to be deep. It really, really, really, really wants to be deep. Mangold loves the symbolism here; sadly he can’t decide on how he wants to convey it, so it’s another thing Logan could’ve done and doesn’t.
Even so, Jackman and Stewart are showing up to do the work. They’re trying to deliver that really, really, really, really deep movie. Dafne Keen–as the young mutant Jackman and Stewart are protecting–is pretty good for most of the movie. When she runs into problems, it’s because the script veers into its crappiest.
It’s a lazy script. It’s a weak and lazy script; Mangold doesn’t have the chops to make it work. He’s never distracted, he’s never interested, he’s always detached, always professional. Logan completely lacks personality. The fight scenes are lame, especially when they should be great. Mangold’s got no rhythm to them. John Mathieson’s capably bland photography doesn’t help, neither does the editing–Michael McCusker and Dirk Westervelt are capably bland. Marco Beltrami’s score is one of his best and it too… bland. François Audouy’s production design–his vision of this mutant-free 2029–isn’t capably bland. It’s just weak.
Jackman’s got enough of a presence to get the film to the finish line. Unfortunately, there’s no one waiting there to finish the movie for him. And Stewart’s fun. Shame the script wasn’t there. Shame Mangold couldn’t bring it together. Logan wants to be anything but mediocre and it ends up being nothing but.