A Dreary Old Man and Company Public interest in "Logan" was sky-high long before the film hit theaters. The marketing pitched it as the final chapter in what felt like the endless saga of Hugh Jackman’s Wolverine. The finale was supposed to be a tough, uncompromising project where old man Logan would shine one last time with his charisma, his feral rage, his raw power. Supposed to. But he didn’t. The story takes place in the near future, where the bright, comic-book world of the X-Men has faded into dull tones and decay. Wolverine is barely scraping by, living a miserable existence while looking after his old friend and mentor Charles Xavier, who has withered into a frail, helpless man. From the very start, the concept drags the viewer into apathy and gloom. At first you think this bleakness is just a setup—something needed for the story to eventually reveal new depths in the characters. But by the film’s midpoint, it becomes clear that the dull visuals are only reinforced by a muddled plot and a painfully thin script. Yes, Logan is older. Yes, life is brutally hard for him in this harsh and unwelcoming future. He suffers over the past, makes no effort to seek a better life, and simply exists without any evolution. The introduction of the young girl X-23 doesn’t improve much. She feels like a blatant attempt to present a younger version of Wolverine—a replacement for the beloved hero. The result is unimpressive, and though Wolverine starts out cold toward her, by the end he’s practically her father. The intended message is obvious—I kept seeing and hearing “Father” thrown around in discussions afterward—but I never actually felt it in the film. The movie carries an R-rating, marketed as a mature film with philosophical undertones meant to analyze Logan’s life and final chapter—the point where this beloved hero ends up after decades, even centuries, of existence. But the philosophy never lands. The attempts come across as shallow and unconvincing. At times it feels like you’re watching a low-budget art-house project—one that asks questions but gives no answers, and leaves no lasting impression. There’s brutality here, sure. Lots of it. But was that really worth highlighting in the marketing? And was it even necessary—especially considering there are kids in the story? Honestly, a standard rating might have worked just as well, though I doubt younger audiences would have connected with this plot anyway. So what’s left? In my opinion, the project turned out weak. The action is sparse and repetitive. The plot lacks substance. There’s one so-called “twist” where Logan faces a worthy opponent, but it’s completely underwhelming. The drama I was hoping for never materialized. The whole thing just feels like an old man wallowing in memories, with no desire left in life, and we’re forced to watch it all wrapped in apathy and gloom. I can’t help but compare it to Nolan’s third Batman film, where the hero also faced a heavy moral crisis. But that farewell felt far more dramatic. And I’m not even talking about budgets or production scale—Nolan’s Dark Knight trilogy is in a league of its own. But there, the drama worked. In Logan, it simply doesn’t. The film didn’t land for me. Hugh Jackman and Patrick Stewart both give strong performances, but everything else falls flat. 4 out of 10