Logan

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"Ask me about Deadpool one more time!"

“Logan” is the third standalone film for Hugh Jackman’s knife-fisted X-Men maverick Wolverine, completing the weary trilogy with something fans have long waited to see: Wolverine’s adamantium claws slashing through human skulls like they were piñatas.

Yes, we’re in hard-R territory here, with Mr. Logan (and others) doing fatal, bloody damage to numerous people, swearing like sailors all the while. Liberated from the confinement of the PG-13, director James Mangold (who also made 2013’s “The Wolverine”) gets to show the anti-social X-Man’s anger, pain, and violence in graphic detail. Sometimes this makes scenes more intense than their counterparts in other comic book movies; sometimes it only makes them more graphic. The film feels nothing like a fantasy-oriented superhero flick — why, there’s not even a post-credits scene teasing the next film! — and plays instead as a compelling, overlong, grown-up, 21st-century Western with a tinge of sci-fi. It’s good, but it can be grueling.

It’s set in 2029 (like that’s gonna happen). All mutants are dead or in hiding, and it seems that no new ones are being born. It is no longer hip and trendy to be a mutant. Logan — drunk, decaying, and sullen — is working as a chauffeur in El Paso, caring for the dying Charles Xavier (Patrick Stewart), who’s stashed across the border in a structure that prevents his dangerous brain waves from getting out or being detected. Caliban (Stephen Merchant), a sun-phobic albino mutant, tends to Charles’ daily needs while Logan works to save up money to get them all somewhere safe.

[To read the rest of the review, please visit Crooked Scoreboard.]

B (2 hrs., 17 min.; R, pervasive harsh profanity and graphic violence, brief boobs.)