The Wolverine

Released: 2013

Directed By: James Mangold

Starring: Hugh Jackman, Tao Okamoto

Certificate: 12A

Reviewed By: Darryl Griffiths

Frenetically edited and carelessly overstuffed with characters of the X universe with little regard for development, his last cinematic solo outing was a ‘hack and slash’ job befitting of his powers but not his reputation. With Bryan Singer’s time-hopping return to the franchise next year with ‘Days Of Future Past’, it is imperative that Hugh Jackman’s adamantium-pumped mutant is on form. With director James Mangold, renowned for fusing thrilling action with engaging protagonists at the helm, can his take on ‘The Wolverine’ bring back the berserker rage and the moral complexity that has been sorely lacking?

Taking inspiration from the portion of Japanese-set comics written by Frank Miller, a stunningly realised opening in Nagasaki set during World War II lays the foundations for Wolverine’s journey back to the scene of such destruction. Acknowledging the events of X Men: The Last Stand, we’re transported into the present day to find a dishevelled Logan confined to the woodlands. Forever plagued by nightmarish visions of Famke Janssen’s Jean Grey, he has sworn to now live a life free of such violence.

Unfortunately for Logan, the figure he heroically saved during such a tragic time is craving his presence. Tracked down by a flame-haired employee in the form of Rila Fukushima’s Yukio, he reluctantly agrees to head to Japan to face Lord Yashida (Hal Yamanouchi). Established as one of the technological giants of the country, Yashida may have been strong in finance but at this juncture is weak in body and mind. The promise of a fleeting visit is soon broken however, as Logan is faced with a peculiar proposition and being a worthy protector to Yashida’s daughter Mariko (Tao Okamato).

Removing the excess of its lacklustre predecessor, Mangold equipped with a script co-written by The Usual Suspect’s Christopher Mcquarrie provides Jackman ample opportunity to delve into the inner sanctum of the character’s psyche. Initially stripped from the duties he has feverishly carried out and starved of the human connection that regularly evades such mutant beings, this is a tortured Wolverine struggling to adjust to the idea of an ordinary life whilst faced with the tantalising prospect of living it.

In breaking the illusion that Wolverine has an aura of invincibility, this particular instalment benefits from an action perspective with its set-pieces refreshingly never feeling tacked-on. With a real sense of peril as it heightens the emotional stakes intertwined with the bristling intensity of its committed star, Mangold respectfully puts the film’s unconventional yet vibrant setting to thrilling use. In placing the characters at the forefront of the narrative instead of rushing to the sharp-edged bombast, ‘The Wolverine’ earns its moments to satisfy the demands of the genre with an audacious ‘chess-like’ bullet train scrap among the highlights.

Carrying the weight of the narrative on his enviously broad shoulders, Hugh Jackman deftly captures the light and shade of the character. The angst that continues to linger within him coupled with the stinging one-liners we’ve grown accustomed to, he provides us with his most compelling, bad ass portrayal of Wolverine thus far. Able support is provided by much of the film’s female contingent, with Fukushima’s Yukio putting in a playful performance that effectively avoids the trap of being a sub-standard foil to Jackman and in a competent debut, Okamato’s emotionally vulnerable turn as Mariko. The only misfire here is that of Svetlana Khodchenkova’s deadly ‘Viper’ who whilst is fittingly seductive, the cartoonish execution of the role sits awkwardly with the film’s overall tone.

Its busy final act may slip into more conventional territory, but Mangold and Jackman succeed in getting the character back to basics. ‘The Wolverine’ is a massive step up from ‘Origins’ and on its own terms, a thoroughly enjoyable and engrossing entry to the Marvel canon that isn’t afraid to dig a little deeper than your average blockbuster.