Review Your Latest Movie 'The Wolverine' 2013!

Movie 'The Wolverine' 2013

There is a reason Marvel conceived the X-Men being a team: The menagerie of mutants tend to be more interesting when they come in a very pack. When the posse of super-powered outcasts was first brought to the screen by means of Bryan Singer in 2000, Hugh Jackman's mutton-chopped, adamantium-clawed Wolverine emerged because the stand-out super-freak. And Hollywood accounting being what it's, he was naturally granted his own solo encore in 2009's underwhelming X-Men Beginning: Wolverine, a silly spin-off of which never quite came together.

Now, to wipe the slate fresh, Jackman and director James Mangold (Knight and also Day; Girl, Interrupted) have teamed nearly bring out the claws just as before in The Wolverine. And while it's definitely an increasingly entertaining and far deeper film versus last Wolverine outing, it still falls in short supply of the top tier of Marvel tentpoles much like the fizzy Iron Man and Mike Raimi's Spider-Man.

Based on Chris Claremont and Frank Miller's much-loved 1982 comic-book arc, The Wolverine can be an existential (and at times soddenly heavy) tale about our razor-taloned hero grappling with the burden of immortality and reduction. But before we wade straight into that therapy session, the film opens that has a harrowing sequence set, like the vast majority of film, in Japan. It's WWII, and Jackman's Logan is imprisoned in a very Japanese POW camp in Nagasaki as B-29s fly overhead to supply the atomic bomb. During the blast he saves one of his captors, a soldier branded Yashida, who, during the exploding market, learns of Wolverine's invincibility and chance to heal his own wounds.

Years later, Logan, who hasn't aged every day, has renounced violence and lives being a hirsute hermit in the Yukon. Right now there, he's tracked down by some sort of punky, red-haired Japanese pixie branded Yukio (Rila Fukushima), who informs him how the man he saved back in the prison camp is now some sort of rich industrialist on his deathbed. He's requesting Logan's presence to help thank him and settle the karmic debt that she believes he owes him. Certainly, that's not all he wishes.

Logan heads to Japan to spend his respects and discovers not just that the aging Yashida (Haruhiko Yamanouchi) desires to steal the secret to Logan's growing old, but also that he features a granddaughter, Mariko (Tao Okamoto), who's about to inherit his fortune and is requiring Logan's unique brand of badass safeguard. Why Logan complies is by no means really explained. Regardless, Logan and Mariko are away from home from a lethal posse of tattooed Yakuza and several other samurai-style baddies straight from the Kill Bill playbook, including Yashida's femme fatale blonde nurse (Svetlana Khodchenkova) who owns certain viper-y gifts of her very own.

As Logan and his charge hit the road, sparks fly, ninjas attack, and Wolverine begins to try out something he never has before — your fear of death. He's been sapped of his eternal life force and now, when he gets into one of his signature slice-and-dice brawls, the wounds he suffers will no longer cauterize and heal. He's equally physically and emotionally vulnerable. Quite simply, human. All of this makes to get a Wolverine tale that's more full of psychological questions (his immortality is seen as an curse) and makes the haunted persona more interesting. Still, that's no excuse for your film's gauzy dream sequences together with Famke Janssen's Jean Grey and its particular overall bloat, which leads up to a preposterous (and endless) final half hour.

Over the past 10 years, the Marvel brand has turn into a virtual guarantee of box-office hammer. But someone over at send out Quality Control Department really needs to look into tightening up these kinds of films. They just don't know when to get rid of. That said, it's worth pointing out two items that The Wolverine gets right (aside via Jackman's always excellent, strong-and-silent-type effectiveness as Logan). The first can be an action sequence that occurs mid-way in the film, when Wolverine is being pursued in addition to a bullet train. By at this point, we've all seen so many beat-downs atop locomotives that they've got become numbingly similar. But the one in The Wolverine is indeed frantic and adrenalized (not to mention the only the main film that takes advantage of 3-D) how the familiar becomes new again. The film also sticks the landing on a brief teaser scene after the tip credits that hints at future developments in the X-Men universe. I won't spoil the pleasure of what are the results. But you have to hands it to Marvel for managing to leave audiences breathless in anticipation of any sequel after making them remain through two-plus hours of simply satisfactory storytelling.

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