Franchisees should end more often these days. This comic book superhero drama was released on March 3rd, 2017, following its critically successful debut at the 67th Berlin International Film Festival in late February. It has since grossed over $250 million worldwide against its $97 million budget, becoming the 2nd biggest opening for an R-rated film screened in IMAX theaters. And I’ll touch on that in a second, but let’s get to the plot. Set in the dystopian-like future 2029, most of the mutants, including the X-Men have been wiped out for some amount of time. The superhero the Wolverine, who now goes by Logan, (or James Howlett, as he tells several humans) is living in a desperate state of old age and financial strain. His quiet life is interrupted when a little girl named Laura comes knocking at his door, begging for protection from a group of shadowy corporate lackeys wanting her for medical experiments. I want to make this clear from the get-go: Logan is not just a superhero movie. This is the fist film of the genre I’ve seen in many years that actually compares with The Dark Knight. With that one, it was a fantastic epic crime saga and psychological dissection of intriguing characters that just happened to have comic book names in it. It’s almost the same case with Logan. This one feels more like an old Western tale, specifically that of George Stevens’ 1953 Technicolor classic, Shane. In fact, director James Mangold borrows some of the same aspects of that film- a gruff cowboy trying to hang up his guns who keeps getting pursued by trouble -in this movie’s narrative to great effect. In the title role, Hugh Jackman is absolutely stunning as Logan/Wolverine. His “I’m-no-hero” demeanor is perfect for the bleak and desolate environment of this future setting he’s in. Laying beside him in his electric wheelchair is Sir Patrick Stewart as Professor Charles Xavier, who is nothing short of marvelous here. Allow me to put some minds at ease: for those of you who saw him drop the F-bomb in the red band trailer, it’s okay. It totally works for the context of everything in the story’s progression. Meanwhile, Boyd Holbrook, star of the acclaimed Netflix drama Narcos, is convincing as the main villain Donald Pierce. A cyborg security director, he sets himself apart from other supervillains due to his refusal to become over-the-top evil and wry sense of humor. He’s a mutant-hating mercenary, for sure, but he just has a fun personality that makes you both like him and long for Logan to murder him when the opportunity presents itself. Other supporting players include Eriq La Salle and Elise Neal are nurturing parents on a farm, Elizabeth Rodriguez as a fearful surrogate mother and medical doctor, Richard E. Grant was methodical and calculating as the head of a shadowy corporation, and Stephen Merchant as the senile yet endearing albino Caliban. They’re all given enough to say and do to add something different to the film as a whole. But in terms of scene-stealing talent, newcomer Dafne Keen is positively brilliant as Laura. Even though she’s barely a teenager, she proves that she can hold her own against older acting veterans. This is especially impressive considering her character has very few lines of spoken dialogue; most of her screentime is spent scowling at either the enemies or her mutant guardians. Technically speaking, it’s very impressive. The sound design is well mixed in every scene, even during the quieter moments. From the crunching of bones to the gushing of blood to the sound of nature, the audience can hear damn near everything that happens. Meanwhile, the camera work from John Mathieson is equally visceral. The contrast in colors like red and green feels like a perfect opponent to the grim reality of the world built within. And while yes, it does move into the cliches of comic book film with shaky movements and quick action cuts, these moments are thankfully sparse throughout the 137 minute-long runtime. Marco Beltrami, who previously collaborated with Mangold on 3:10 to Yuma and The Wolverine, composes the film’s score. It foregoes the bombastic, orchestral battle tracks of previous films, and instead uses influences of horror and Western movies. Various motifs and minimalist instruments are used throughout and fit perfectly for the tone and story. And now we get to the much-hyped R-rating. Dear God, isn’t it completely warranted and justified? It had been apparently clear from minute-2 alone that this was going to be a very different kind of superhero movie. One that is brimming with chopped limbs, excessive swearing, gushing blood, and disturbing skin/body damage. I urge you not to take your little kids or your grandparents to see Logan, as they will probably walk out when it all goes down. Even without all that, the story is still very dark, grim, mature, and not very uplifting. Just look at Jackman and Stewart for further proof. You’d think after playing these roles for 17 years, they’d be exactly what you expected them to be. But they are old, weathered down, exhausted, and rather pessimistic on life. Even Wolverine is like a 60-year-old man, because of something I have to tell you. It’s a very minor spoiler and isn’t THE THING in the movie. With his constant drinking, his adamantium bone structure is deteriorating, poisoning his healing factor. That really makes the audience think, “Dude… give it up man. It’s okay.” But that just demands further praise for Jackman’s acting, which many speculate could earn him nominations in the coming award season. Logan is not only, the best Xmen movie to date, but it’s also one of the best superhero films ever made. This is the most perfect, poignant, and beautiful sendoff Hugh Jackman could have possibly gotten. It sounds like I’m being a fanboy, but the fact remains- I kid not -Logan almost made me cry.