Critic Reviews

This is a filmmaker’s film, a fully realized statement that oozes with the assurance and confidence of a hungry visionary who not only knows what he wants to do but how to do it.

Logan takes its indestructible metal claws to comic book movie norms and destroys them, and it’s a wonderful thing.

The R-rating does represent truth in advertising, and it has conferred a kind of liberation on what strikes me, a violence-averse moviegoer at heart, as the best superhero film to come out of the comic-book world, and I’m not forgetting Tim Burton’s “Batman” or Christopher Nolan’s “The Dark Knight.”

James Mangold's Logan is an uncommonly mature comic book movie, practically from another universe unto itself. It's a movie demanding and deserving to be taken seriously, an elegy for a mutant.

What’s special about Logan is that it manages to deliver the visceral goods, all the hardcore Wolverine action its fans could desire, while still functioning as a surprisingly thoughtful, even poignant drama—a terrific movie, no “comic-book” qualifier required.

Logan is the rare action flick in which the quiet moments are as compelling as any of the fights.

It’s not just one of the best superhero movies ever – it’s a damn-fine cinematic representation of the human condition in all its agonizing forms.

Easily the best Wolverine outing, Logan is The Dark Knight of the mutant-filled X-franchise, a gripping film that transcends the comic-book genre by saying something important — and for Logan, that means coming to grips with needing loved ones in his life.

Logan is the rare blockbuster that could be a game-changer. It will certainly change the way we look at other superhero movies and how history judges the entire MCU and DC Universe of films.

It’s a captivating throwback that promises to lead the genre away from sci-fi flash and trickery. I’d rank it beside “X-Men: Days of Future Past” among the best X-Men entries.